Tjetjep Rohendi Rohidi, Tjetjep Rohendi
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CERAMICS AS A MEDIUM FOR TEACHING FINE ARTS TO ELEMENTARY SCHOOL STUDENTS IN “SDIT” PERMATA HATI BANJARNEGARA Puspita, Ratna; Rohidi, Tjetjep Rohendi; Triyanto, Triyanto
Catharsis Vol 7 No 3 (2018): October 2018
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24498

Abstract

In the school-based curriculum of fine arts, a school can teach its material to students, including making crafts from ceramics. This research discusses the use of ceramics as a medium for teaching fine arts to elementary school students in ?SDIT? Permata Hati, Banjarnegara. This research employed qualitative design with the interdisciplinary approach. It used observation, interview, and literature reviews to collect the data. The data were validated using triangulation. The research followed the sequence of analysis starting from data reduction, data presentation, and verification. This research found that ceramics, as the medium of teaching fine arts, can initiate ideas and creativity for the children. Then, the teaching of fine arts teaches the students to appreciate and create artworks in SDIT Permata Hati inside and outside of the school in the centre of ceramics artisans.
ORKES PUISI SAMPAK GUSURAN : THE CREATIVITY OF PROCESSING AND SYMBOLIC MEANINGS IN ACTION OF ART FOR THE ART CONSUMER COMMUNITY Amaliani, Mina; Wadiyo, Wadiyo; Rohidi, Tjetjep Rohendi
Catharsis Vol 7 No 2 (2018): August 2018
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.22865

Abstract

This research raises the problem about an art group located in Pati Central Java named Orkes Puisi Sampak Gusuran. The group has created the art of musical poetry. The purpose of this study was to obtain a picture of the form of creativity and symbolic meaning of the work of the Orkes Puisi Sampak Gusuran for the society of art consumer. This research used qualitative method and used an interdisciplinary approach to find out the symbolic meaning, using symbolic interaction theory. The data collection techniques used are interviews, observation, and document studies. The results of this study indicate that; 1)there are poetry reading techniques must be maintained in order to maintain the meaning of the deepest meaning of a poetry to be away from melodic readings such as language in a songs, although the music as a companion is still presented as a builder of nuance 2)the syllable of poetry can be widened or narrow to adjust to music without reducing the essence of his poetry. From the mixing of instruments, musical genres and mixed arrangements, a new musical arrangement is created that is sometimes undetectable in its genre. This is where the originality the work of Orkes Puisi Sampak Gusuran, where the arrangement sounded flowing, following the atmosphere of poetry, strengthen it into music that is different from others but still strong as a music or as a poetry. Meanwhile the symbolic meaning that can be concluded is: 1)works of poetry Orkes Puisi Sampak Gusuran symbolize life that occurred in society and also a relation to God 2)the use of traditional instruments is a relationship with the ancestors who remain woven in the present.
GURITAN: MAKNA SYAIR DAN PROSES PERUBAHAN FUNGSI PADA MASYRAKAT MELAYU DI BESEMAH KOTA PAGARALAM Firduansyah, Dedy; Rohidi, Tjetjep Rohendi; Utomo, Udi
Catharsis Vol 5 No 1 (2016)
Publisher : Catharsis

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Guritan adalah salah satu jenis sastra daerah masyarakat Besemah yang eksistensinya ditampilkan dalam bentuk teater tutur. artinya ia dituturkan secara monolog oleh seorang penutur cerita dalam bahasa Besemah dengan lagu atau syair tertentu dan memakai alat bantu sambang.  Masalah dalam penelitian ini adalah bagaimanakah makna syair guritan di Besemah Kota Pagaralam dan bagaimanakah perubahan fungsi   guritan pada masyarakat melayu di Besemah Kota Pagaralam? Pendekatan yang diterapkan penelitian ini adalah interdisiplin yang melibatkan disiplin ilmu semiotika dan sosiologi. Metode yang digunakan kualitatif. Lokasi penelitian di Kota Pagaralam. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi dokumen. Teknik keabsahan data secara utama menggunakan triangulasi sumber. Teknik analisis data yang digunakan adalah analisis isi dan analisis data interaktif. Hasil penelitian yang pertama yaitu terdapat makna berupa nasehat-nasehatt anjuran berbuat baik dan tolong menolong serta selalu menghormati kedua orang tua dan pembahsan kedua ditemukan adanya perubahan fungsi guritan yang di sebabkan oleh pengaruh budaya luar yang masuk di Kota Pagaralam yaitu kebudayaan islam hal tersebut menyebabkan perubahan prilaku masyarakat Kota Pagaralam yang harus mengikuti  norma  dan nilai  yang belaku  pada  budaya  yang  baru  yang  berdampak pada perubahan fungsi pada guritan.
TOPENG SENI BARONGAN DI KENDAYAKAN TEGAL: EKSPRESI SIMBOLIK BUDAYA MASYARAKAT PESISIRAN Murni, Endri Sintiana; Rohidi, Tjetjep Rohendi; Syarif, Muh. Ibnan
Catharsis Vol 5 No 2 (2016)
Publisher : Catharsis

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Kehadiran seni dalam kehidupan manusia menjadi salah satu kebutuhan bagi manusia. Salah satunya topeng seni barongan di Kendayakan Tegal. Bentuk topeng mengarah pada keislaman dan masih mempertahankan bentuk terdahulu. Masalah yang dikaji dalam penelitian ini: (1) bagaimana bentuk topeng dalam seni barongan di Kendayakan Tegal?; (2) mengapa bentuk topeng dalam seni barongan di Kendayakan Tegal mengekspresikan secara simbolik budaya pesisiran?. Metode dan pendekatan penelitian adalah kualitatif dengan kajian interdisiplin. Analisis data seni dengan intra dan ekstraestetik. Hasil penelitian yang pertama, topeng seni barongan terdiri dari Capluk, Gendruwo Lanang, Gendruwo Wadon, Singa, dan Buroq. Bentuk visual topeng memiliki gaya imajinatif dan stilaisi dengan corak sederhana serta variatif. Warna topeng cerah dan tegas. Topeng juga terkait dengan nilai kosmologis, klasifikasi simbolik, dan orientasi kehidupan. Kedua, topeng seni barongan sebagai praktik budaya masyarakat Desa Kendayakan berada di kawasan pesisir menghasilkan produk budaya berupa topeng seni barongan yang mengekspresikan secara simbolik budaya pesisiran. Topeng seni barongan dahulu memiliki unsur-unsur budaya Hindu bergeser menjadi budaya dan simbol Islam sebagai legitimasi yang kuat pada masyarakat Kendayakan serta bertujuan sebagai media syiar Islam.
YEN ING TAWANG ANA LINTANG: KASUS BENTUK MUSIK KERONCONG GROUP CONGROCK 17 DI SEMARANG Wuryanto, Lucky Rachmawati; Rohidi, Tjetjep Rohendi; Tarwiyah, Tutik
Catharsis Vol 5 No 2 (2016)
Publisher : Catharsis

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Group Congrock 17 merupakan sebuah group musik yang mengembangkan musik keroncong menjadi sebuah karya musik kontemporer. Sejak tahun 1983, Congrock 17 telah melakukan inovasi-inovasi baru terhadap musik keroncong, yaitu dengan mengembangkan alat musik yang digunakan, harmonisasi atau progresi akord yang pastinya semua keluar dari pakemnya keroncong. Permasalah penelitian, yaitu: (1) bagiamana profil group Congrock 17 di Semarang?; (2) bagaimana bentuk musik keroncong Yen Ing Tawang Ana Lintang group Congrock 17 di Semarang? Metode penelitian yang digunakan adalah penelitian kualitatif dengan pendekatan kritik seni holistic. Teknik pengumpulan data dengan: wawancara, dokumentasi dan observasi. Teknik analisis data ini diarahkan untuk: mendapatkan informasi secara menyeluruh tentang bentuk musik keroncong yang dikembangkan oleh group Congrock 17. Hasil penelitian menunjukan bahwa: pengembangan musik keroncong yang dilakukan oleh Congrock 17 ini berhasil menghasilkan suatu permainan keroncong yang nge-beat dan dinamis, sehingga tidak monoton dan melodi lagu menjadi lebih variatif dengan rentangan nada atau range yang sangat luas. Dan Bentuk lagu Yen Ing Tawang adalah A-A’-B’A’. Group Congrock 17 telah melakukan pengembangan pada iringan musik langgam Yen Ing Tawang Ana Lintang, hal itu dapat dilihat dari melodi, sistem nada, interval, harmonisasi atau progresi akornya, dan motif asimetris. Musik keroncong memiliki potensi yang cukup besar untuk beradaptasi dengan dinamika zaman. Saran yang dikemukakan peneliti adalah hendak adanya suatu campur tangan dari pemerintah dalam mendukung segala kegiatan seniman keroncong (HAMKRI) sebagai bentuk kerjasama dalam melestarikan keroncong. Melakukan pembelajaran keroncong di sekolah sebagai bentuk pemahaman akan pelestarian keroncong kepada generasi muda.
CERAMICS ENCULTURATION OF ARTISANS’ COMMUNITY IN MAYONG LOR VILLAGE: ADAPTATION STRATEGIES IN THE PRESERVATION AND CONTINUATION OF LOCAL CULTURE CREATIVE POTENTIAL -, Triyanto; Rohidi, Tjetjep Rohendi; Sumaryanto, Totok; Thohir, Mudjahirin
The Journal of Educational Development Vol 3 No 2 (2015): November 2015
Publisher : The Journal of Educational Development

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The facts showed that traditional ceramic arts are one of the local cultural heritages in which their existence is not easily maintained and continued because of competition with modern industrial products in market. The opposite condition occurs in Mayong Lor village that this local cultural heritage is still well maintained and developed from generation to generation for about six centuries in communities. Thus, a fundamental question arises why and how this phenomenon occurs. This study examines ceramics enculturation problems of crafters in Mayong Lor village communities, Jepara as the manifestation of adaptation strategies in the preservation and continuation of local culture creative potential. Two approaches used as the basis of assessment strategies. First, the theoretical approach was applied through the approach of culture, aesthetics, structural functionalism, adaptation, and education. Next, the methodological approach was used through anthropological research approach operated by using qualitative research method. The results show that the ceramics enculturation of artisans’ in Mayong Lor village communities naturally appear to function as a cultural mechanism of ceramics traditional activities in the environment of crafter families. This cultural mechanism is the form of informal education as the manifestation of adaptation strategies in maintaining and continuing creative potential of ceramics culture in the community, across generations since 15th to 21th century. The local culture stakeholders are recommended to adopt or adapt the findings of this study as a model in determining policies for the development of conservation programs and local culture potential in their respective regions.
LOCAL WISDOM VALUES OF RUMOH ACEH Maria Ulfahmi, Cut Gesti; Rohidi, Tjetjep Rohendi; Triyanto, Triyanto
Catharsis Vol 7 No 3 (2018): October 2018
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v7i2.24742

Abstract

The purpose of this article is to reveal the local wisdom values of Rumoh Aceh architecture in Garot Cut village. Local wisdom means the wisdom to face something. Aceh?s local wisdom is a reflection of Aceh?s cultural tradition that is manifested in Aceh?s traditional architecture, in this case is Rumoh Aceh in Garot Cut village.  The formulation of problems in this research is local wisdom values that is expressed through Rumoh Aceh.  This research aims at analyzing the local wisdom values in Rumoh Aceh. The method used in this research is qualitative with ethnographical approach. Data collecting techniques are observation, interview, and document study with primary and secondary data sources. The technique of data validity is through source triangulation and data analysis technique through the stage of data reduction, data presentation, and verification. The research is situated in Garot Cut village. Indrajaya district Pidie regency. The research findings show that Rumoh Aceh has local wisdom values. Those values are in the components of building shape and the traditional ceremony of Rumoh Aceh, the values are religious, moral, social, traditional, and sensitive on nature. The knowledge, attitude, and local wisdom behavior Rumoh Aceh  teach the society to adapt, to care with cultural inheritance, and to form the system of social familial system.
PELESTARIAN DAN PENGEMBANGAN KEANEKARAGAMAN SENI NUSANTARA BAHASAN TENTANG MEMAJUKAN PENDIDIKAN DAN MENGUATKAN KARAKTER Rohidi, Tjetjep Rohendi
Sabda: Jurnal Kajian Kebudayaan Vol 14, No 1: 2019
Publisher : Fakultas Ilmu Budaya Universitas Diponegoro

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (530.006 KB) | DOI: 10.14710/sabda.14.1.21-30

Abstract

Three important cases need to be raised to begin this article. First, it is the issue of advancing education and strengthening culture. The issue should be seen as awareness to understand arts in various archipelago as a whole system, namely regarding human?s behaviour and values and natural-physical and socio-cultural environmental resources; that is, an eco-cultural system. This basic understanding becomes the starting point for carrying out activities or praxis in dealing with the changes which occur. Second, the effort of inheritance in its form as the preservation and development of this culture which refers to the awareness of artistic diversity which needs to be maintained as a system that gives freedom in unity and integrity. Third, art is a cultural element that is sensitive to differences, and becomes a flexible means of bridging differences; it becomes a means of appreciation of the refined inner space to overcome violence, hatred, pride, and greed. In brief, what is discussed in this paper comprises (1) art in Indonesia in the context of the archipelago culture; (2) socio-cultural changes and their implications in the development of art in Indonesia; and (3) inheritance efforts as an educational process which needs to be done. The problem is thoroughly tried to be discussed through an eco-cultural perspective, namely by putting the parts of the problem as a whole system which is interconnected among humans, values, and their environment in the micro and macro environment.
Makna Simbolis dan Fungsi Tenun Songket Bermotif Naga pada Masyarakat Melayu di Palembang Sumatera Selatan Tahrir, Romas; Rohidi, Tjetjep Rohendi; Iswidayati, Sri
Catharsis Vol 6 No 1 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17020

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Tenun Songket Palembang Sumatera Selatan merupakan salah satu songket terbaik di Indonesia. Motif naga divisualkan kedalam tenun songket karena diyakini memiliki makna simbolis. Tujuan penelitian ini adalah (1) ingin mengetahui motif naga dijadikan unsur utama dalam kerajinan tenun songket (2) ingin menganalisis visualisasi naga dalam tenun songket, (3) ingin memahami makna simbolis dan fungsi tenun songket bermotif naga pada masyarakat Melayu di Palembang Sumatera Selatan. Metode penelitian yang digunakan metode kualitatif. Data penelitian diperoleh melalui, observasi, wawancara, dokumentasi. Teknik analisis data yang digunakan adalah pengumpulan data, reduksi data, penyajian data dan kesimpulan. Hasil penelitian menunjukan bahwa: Pertama, Tenun songket bermotif naga dijadikan sebagai motif utama karena motif tersebut yang pertama dibuat oleh Gede Munyang masa dulu (nenek moyang) sebelum adanya motif-motif tiga negeri dan kenanga dimakan ulat; Kedua, bentuk visual naga yang ada pada tenun songket merupakan visualisasi pengaruh naga Cina; Ketiga, makna simbolis tenun songket bermotif naga merupakan unsur kepercayaan masyarakat Sumatera Selatan yang terkandung pemahaman kehidupan dilihat dari makna unsur satu kesatuan dan merujuk pada tatanan dalam berkehidupan yang berisi pemahaman terhadap konsep pengharapan, kesucian, perlindungan, kemakmuran, jati diri, dan ajaran dalam ruang lingkup kehidupan sosial. Berkaitan dengan fungsinya, masyarakat Palembang menggunakan tenun songket bermotif naga dalam tradisi pernikahan. Weaving Songket Palembang South Sumatra is one of the best songket in Indonesia. Visualize them into a dragon motif on songket as it is believed to have symbolic significance. Problems examined in this study are: (1) want to know the dragon motif used as a key element in the craft of weaving songket (2) wants to analyze the visualization of a dragon in songket, (3) to understand the symbolic meaning and function of songket weaving patterned dragon on the Malay community in Palembang in South Sumatra. The method used qualitative methods. The data source is the people of Palembang in South Sumatra and patterned songket weaving dragon. Analysis technique used is data collection, data reduction, data presentation and conclusion. The research shows. First, patterned songket weaving dragon serve as the main motive for the first motif created by Gede Munyang first period (ancestor) before any other motives. Second, the visual form of the dragon that is in the weaving songket is a visualization of the influence of the Chinese dragon. Third, the symbolic meaning of the dragon patterned songket is an element of public confidence in South Sumatra. Contained in the understanding of the meaning of the elements of life seen a whole and refers to the order in life which provides an understanding of the concept of hope, purity, protection, prosperity, identity, and the teachings within the scope of social life. In connection with the public function Palembang songket weaving patterned using dragon in their marriage tradition.
Proses Kreasi Tari Alusu’ sebagai Tari Penyambutan di Kabupaten Bone Imran, Fitrya Ali; Cahyono, Agus; Rohidi, Tjetjep Rohendi
Catharsis Vol 6 No 1 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17033

Abstract

Penelitian ini bertujuan untuk  menggambarkan proses kreasi sebagai tari penyambutan di Kabupaten Bone. Metode penelitian menggunakan jenis penelitian kualitatif. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan studi dokumentasi. Teknik analisis data secara menyeluruh menggunakan prosedur analisis Miles dan Huberman yang dimulai dari pengumpulan data, reduksi data, penyajian data dan verifikasi data atau penarikan kesimpulan, untuk teknik analisis tari menggunakan prosedur Jannet Adshead yaitu Discerning dan Describing. Hasil penelitian ditemukan bahwa proses kreasi dilakukan pada tahun 2005 oleh koreografer Abdul Muin, dan dibantu oleh Andi Youshand selaku budayawan dan Andi Mappasissi selaku pemangku adat dalam hal menemukan ide. Melalui proses kreasi yakni eksplorasi, improvisasi dan komposisi, tari Alusu’ terbentuk menjadi delapan ragam gerak di antaranya, Mappakaraja, Sere Alusu’, Sere Bibbi’, Sere Mangkok, Sere Massampeang, Sere Maloku, Sere batita, dan Pabbitte. Gerakan yang dihasilkan dengan karakter gaya gerak Abdul Muin sebagai penari Bissu, dan dipengaruhi oleh keadaan geografis Kabupaten Bone, sehingga menghasilkan gerak yang lebih dinamis. Di sisi lain, elemen pendukung tari Alusu’ seperti musik iringan, kostum, tata rias, properti, dan desain lantai disesuaikan dengan kebutuhan masyarakat saat ini. This study aims at describing creation process as a welcoming dance in Bone Subdistrict. This study is qualitative in nature. The data are collected through observations, interviews, and documentations study. The data analysis techniques apply Miles and Huberman’s procedures, starting from data collection; data reduction; data presentation; and data verification or drawing conclusion. Meanwhile, dance analysis techniques utilize Jannet Adshead’s ones which are discerning and describing. The results show that creation process was done in 2005 by Abdul Muin as the choreographer, collaborated with Andi Youshand as cultural observer and Andi Mappasissi as local custom leader in finding ideas. Through the creation process covering exploration, improvisation, and composition, Alusu’ dance was formed in eight moves that are Mappakaraja, Sere Alusu’, Sere Bibbi’, Sere Mangkok, Sere Massampeang, Sere Maloku, Sere batita, and Pabbitte. The moves are characterised by the style of Abdul Muin’s as Bissu dancer, also influenced by Bone’s geographical condition, which finally make those more dynamic. Besides, some other additional elements such as music, costume, make up, properties, and floor design are adjusted by current people’s need.