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Rohendi Rohidi, Tjetjep
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SOCIALIZATION OF STONE CRAFT IN MUNTILAN ON THE COMMUNITY EMPOWERMENT PROCESS Istanto, Riza; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto
Catharsis Vol 8 No 3 (2019): October 2019
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i3.32967

Abstract

The purpose of this study was to analyze the process of socializing the stone craft in Muntilan in empowering the cultural potential of the community. This research was conducted at the center of the Muntilan stone craft, namely Tamanagung Village, Muntilan District, Magelang Regency, Central Java Province. The sociology approach and case study design were used in this research. Data was collected by observation, interview, and documentation techniques. To obtain validity of the data collected triangulation of data is done through steps a) comparing the results of interviews, observations, and documents obtained; b) comparing an informant's personal confession with his statements in public or when a group discussion takes place; c) comparing opinions at the time of research with situations that have occurred throughout history; d) comparing opinions between ordinary people, educated, and bureaucrats. Data analysis includes the stage of selecting a problem, summarizing the problem, collecting data, analyzing the data, and writing the results (including drawing conclusions at the end of the analysis). The results of the study showed that empowerment was carried out in the Batu Kriya community agents through the socialization process. The stone craft socialization process includes the preparation stage, namely the introduction of knowledge about materials, equipment, and techniques; the stage of imitating through the practice of making stone crafts under the direction of experts (expert craftsmen); the stage of acting through working together with skilled craftsmen (nyantrik); and the stage of acceptance of collective norms that occur when the crafters make stone carving activities as a profession. The suggestion that the authors propose through this research is that coaching in advancing traditional arts must be based on joint commitment through crafters and the public as well as participants or communities so as to create independence and prosperity for them.
PALEMBANG SONGKET FABRIC VISUAL MOTIF Wijayanti, Fitri; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto
Catharsis Vol 8 No 4 (2019): December 2019
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.36035

Abstract

Palembang songket fabric visually has various aesthetic forms that are always changing, but always maintain the value of local wisdom. The purpose of this study was to analyze the visual motifs of the Palembang Songket fabric. The method used is a qualitative method with a phenomenological research design. Data collection techniques include observation, interview and document study. The validity of the data in this study uses triangulation, while the data analysis procedure is carried out by collecting data, reducing, presenting, and drawing conclusions. This study was analyzed using De Witt H. Parker's aesthetic theory. The results showed that Palembang Songket visually contained two forms of visual classical motifs and modern visual motifs. Visual classical motifs have characteristics; (1) animal and tumpal motifs, (2) material used is silk thread and gold-plated thread, (3) the colors used are predominantly dark red and gold. While modern visual motifs have characteristics, (1) motifs are more on plants and geometric but do not leave tumapal motifs, (2) materials used are silk thread and copper-coated silk thread, (3) colors used are more diverse, like red, pink, blue, green, and purple. Specifically, the subject of this research was the visual motifs of Palembang's Songket fabric, which experienced continuous visual changes in motifs.
THE SYMBOLIC MEANING AND CULTURAL ETHICS VALUES IN PAGAR PENGANTIN DANCE MOVEMENTS Kartikasari, Aprilia; Rohendi Rohidi, Tjetjep; Triyanto, Triyanto
Catharsis Vol 8 No 4 (2019): December 2019
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v8i4.35950

Abstract

The Pagar Pengantin dance is one of the South Sumatra's traditional works of art, it was created based on the spirit of the Komering tribe and developed in Palembang. The Pagar Pengantin dance is one form of art that is widely used by the local community that presented during the the traditional wedding ceremony which has the symbolic meaning of the bride's separation from her family and requests permission to form a new family. The purpose of this study is to analyze the symbolic meaning and cultural ethical values ??in the Pagar Pengantin dance moves. This is case study that used a qualitative method. The data were collected by observation, interview and document study. The results of the study provide knowledge and references about the symbolic meanings and values ??of cultural ethics in the Pagar Pengantin dance moves. In particular, this findings are (1) the symbolic meaning of the Pagar Pengantin dance moves is the request of the bride's permission to start a new life as in the respect gesture associated with the symbolic meaning of respect. The flower motion symbolizes the bride, the united motion means the union of two families. (2) The value of local cultural ethics in the Pagar Pengantin dance movement shows forms of behavior that lead to goodness in social life such as the ethical values ??of politeness and positive thinking, humility, caution, and the affection value.