<p><em>The purpose of writing this article is to describe how the symbolic interactions are established between the Jaranan Jawa Turonggo Budoyo arts that grow and develop in Rejoagung Village and the audience. This study uses an analysis of symbolic interactions pioneered by Goerge Hebert Mead. The Jaranan Jawa Turonggo Budoyo performance in Rejoagung Village through verbal communication carried out by the actors of the jaranan art, namely through the elements contained therein such as motion, property, offerings, costumes, etc. are the symbols that exist in this dance. The symbols presented have their own meaning, so that they get appreciation from various audiences who have different backgrounds. This dance is performed for people who have nadzar and when there are people who catch it and this is especially true for Rejoagung residents. This is a response from the audience who is interested in this dance. Artists are a group of Reajoagung residents who have participated and consciously joined the Turonggo Budoyo organization.</em></p><p><strong><em>Kata kunci: </em></strong><strong><em>Jaranan Jawa Turonggo Budoyo, </em></strong><strong><em>symbolic interactions, aud</em></strong><strong><em>i</em></strong><strong><em>ence</em></strong><strong></strong></p><p> </p><p><strong>Abstrak</strong></p><p>Penulisan artikel ini bertujuan untuk mendeskripsikan bagaimana terjalinnya interaksi simbolik antara kesenian Jaranan Jawa Turonggo Budoyo yang tumbuh dan berkembang di Desa Rejoagung dengan penonton. Metode yang digunakan yakni kualitatif deskkriptif. Penelitian ini mengunakan analisis dari interaksi simbolik yang dipelopori oleh Goerge Hebert Mead. Pertunjukan Jaranan Jawa Turonggo Budoyo melalui komunikasi verbal dilakukan oleh para pelaku kesenian jaranan, yaitu melaui unsur-unsur yang yang terkandung didalamnya seperti gerak, properti, sesaji<em>,</em> kostum, dan lain-lain merupakan simbol-simbol yang ada pada tarian ini. Simbol-simbol tersebut dihadirkan memiliki makna tersendiri, sehingga mendapatkan apresiasi dari berbagai penonton yang memiliki latar berlakang berbeda-beda. Tarian ini dipentaskan untuk pemenuhan <em>nadzar </em>terkhusus bagi warga Rejoagung. Hal tersebut merupakan adanya respon dari penonton yang tertarik pada tarian ini. Pelaku seni merupakan sekumpulan warga Reajoagung yang turut andil dan secara sadar bergabung dalam organisasi Turonggo Budoyo.</p><strong>Kata kunci: Jaranan Jawa Turonggo Budoyo, Interaksi simbolik, penonton</strong>
A traditional music group from the Banyuwangi region with unique qualities is called Gamelan Banyuwangi. The peculiar laras known as the slendro sliring that distinguishes the Banyuwangi gamelan from other gamelan is one of its distinguishing features. The laras slendro sliring, however, became less common as time went on due to changes. This study set out to identify the variables that affected how the laras slendro changed in relation to the Banyuwangi gamelan. Descriptive qualitative research methodology was employed in this study. The laras on the Banyuwangi gamelan serve as the study's formal and material objects, respectively, together with the notion of change. Secondary information was gathered from records, such as old music videos and some pictures of previous forms of gamelan music. Data collection techniques used in this study include observation, interviews, and document studies. To get the validity of the data the author triangulated the sources. The analysis technique used by the author includes data reduction, data presentation, and drawing conclusions. The results of the study, there are two factors that affect the change in the laras of the Banyuwangi gamelan slendro, namely changes in evolution and acculturation. Evolutionary changes occur in the decrease in the tone of the laras slendro sliring to the slendro that is used today because the younger generation cannot follow the use of the laras slendro sliring so there is an evolution in Banyuwangi gamelan music. Second, there are changes due to acculturation factors that occur during tuning, so Banyuwangi gamelan craftsmen use standard Western music tuners to make tuning easier.
The development of performing arts in Indonesia has proven that there are many variants of the Jula-July gending scattered in several places in the East Java region. Jula-Juli gending is a gending that can stand alone or as a partner for other arts, of course with different characteristics in each distribution. One of them is in Jatiduwur village, Kesamben sub-district, Jombang district, East Java through the performing art of the Jatiduwur Jombang Mask Puppet in the Bapang dance performance. This makes this paper aim to find the characteristics of the Jula-Juli Laras Slendro Pathet Wolu gending in the Bapang Wayang Topeng Jatiduwur dance by trying to represent or explore the characteristics of the gending in it. This study uses qualitative research methods, the analysis of which is more qualitative and descriptive. Action analysis uses three stages, namely the description stage, the reduction stage, and the selection stage. The research shows that the characteristics of the Jula-Juli rendition of Laras Slendro Pathet Wolu in the Bapang Wayang Topeng Jatiduwur dance are a piece that has the distinctive feel of the traditional Javanese wasp Jatiduwur, Jombang. Characteristics can be found through the identification of gending forms (dynamics, tempo, and expressions of the beat), the organology of the gamelan instruments that present them, the symbols of the Bapang dance movements, the tuning system of the gamelan instruments that present them, the artists involved, the social conditions of the people who support the arts, and the nuances of tradition. presentation results.
Pendet is a Balinese dance played by a group of women who wear special clothing. The body part wears a prada belt and the waist to down is covered with a golden ornament cloth. The shoulder and arms don't wear a shirt, so it looks exciting. Exciting words have multiple meanings, can mean beautiful and can also mean not beautiful because they are relative. Based on data in a particular place, Pendet dance was found 'berbaju'. The dancers use tight longsleeved T-shirts, and even found dancers wearing a broklat clothes. That Pendet's clothes look awkward. The performance of Pendet clothing that does not match the original is a problem in this paper. Why do they present clothes like that? How is the aesthetics of presenting the "dressed" Pendet dance clothes? The problem will be studied with objective and subjective aesthetics. Based on the discussion found the results that those who dance Pendet wearing long-sleeved T-shirts or other cover clothes are based on subjective aesthetics. They prioritize beauty about relative goodness, believed to be the prevailing norms or rules. Furthermore, the objective aesthetics that apply to Pendet will change because the form is changed. It will be very worrying for the development of Pendet dance as an aesthetic product. The conclusions from this paper can be reflected in all types of dance, that all types of dance will change in essence if the aesthetic changes. Aesthetics change because the form is changed, therefore it is recommended not to change the existing dance form if you want to maintain a dance culture.
Since the beginning of March 2020, the number of positive cases of the 2019 coronavirus disease (Covid-19) has continued to increase. Until Wednesday (1/4/2020), the number of positive cases of Covid-19 reached 1,677. There were 103 patients who were declared cured and 157 other patients died. Over the 17 days from April 1 to April 18 confirmed cases increased by 4545 from 1,677 to 6,222, likewise the number of people who died increased by 378 from 157 to 535. A number of procedures have been carried out by the government to overcome the spread of the corona virus in Indonesia. Unesa as part of the government which is engaged in education took part in overcoming the spread of the corona virus. In the field of research making policy so that lecturers carrying out research contribute to overcoming the case. We as dance researchers are aware that this need is very encouraging to take part in preventing corona virus outbreaks. A type of fitness exercise that has been very popular that can improve fitness and respiratory health is yoga. In general yoga is interpreted as a fitness gymnastics, but actually it's not as narrow as it means. Yoga is divided into eight levels called astanga yoga, namely: 1) yama, 2) niyama, 3) asanas, 4) pranayama, 5) pratihara, 6) dharana, 7) dhyana, and 8) samadhi. Yama niyama functions to form the character of dharma, asanas functions to increase endurance, pranayama to increase the power of breathing, pratihara-dharana-dhyana-samadhi builds the power of meditation that leads to the power of concentration. Dance and yoga when collaborated will produce a dance choreography that is unique to health. The specific objectives of this study are: to describe the process of developing the Tayoga video; to describe the development quality of Tayoga video; and describes the effectiveness of developing Tayoga videos based on user responses and learning outcomes. This study uses the Research and Development (R & D) method with the Four-D development model from Thiagarajan. The research procedure is divided into four parts, namely: define, design, development, disseminate. The conclusions of this paper are 1) although there are obstacles the development process is running smoothly. The development process is carried out based on the development parts that have been compiled; 2) the value of the quality of the development content is 91.06% and the media presentation is 94.44%, which means that this product is very suitable for use; 3) the value in the small-scale trial was 87.81%, while the large-scale trial was 88.05%, which means that this video was effectively used.
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