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INOVASI KESENIAN RAKYAT KUDA LUMPING DI DESA GANDU, KECAMATAN TEMBARAK, KABUPATEN TEMANGGUNG Rokhim, Nur
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (749.835 KB) | DOI: 10.33153/grt.v17i1.2299

Abstract

Demam kesenian rakyat kolaborasi Leakan di Temanggung rupanya sudah tidak dapat dibendung lagi. Para seniman senior rata-rata menolak kehadiran kolaborasi tersebut, mereka merasa risih dengan pengembangan seni pertunjukan yang demikian. Akhirnya Dinas melarang pertunjukan kolaborasi Kuda Lumping dengan tari Leak, Pendet dan Barong Bali. Hal ini dimaksudkan untuk mengembalikan eksistensi pertunjukan Kuda Lumping seperti semula sebagai seni yang mempunyai ciri khas Temanggung. Kesenian Kuda Lumping Sri Budoyo berada pada situasi yang rumit, di tengah-tengah tuntutan selera masyarakat yang semakin beraneka ragam. Tekad masyarakat pendukung kesenian sudah bulat untuk menjaga dan melestarikan kesenian Kuda Lumping supaya tetap eksis dengan ciri khasnya. Berbagai permasalahan mitra sebagi akibat masuknya kesenian luar daerah yang mengusik eksistensi kesenian lokal sebagai ciri khas daerah, maka akan ditawarkan solusi untuk mengatasi permasalahan yang dihadapi. Inovasi adalah sebuah cara yang akan dilakukan sebagai solusinya. Inovasi yang dilakukan adalah pemberdayaan anak-anak sebagai generasi penerus kesenian Kuda Lumping di desa Gandu II, yang nantikan akan memegang kendali kesenian di desa tersebut. Anak-anak diberi pelatihan tari Geculan sebagai dasar kepenarian mereka, gerak-gerak yang disusun disesuaikan dengan usianya.Kata kunci: Inovasi, Kesenian rakyat, Kuda Lumping.Abstract The folk art fever of the Leakan collaboration in Temanggung apparently cannot be stopped anymore. The average senior artists reject the presence of the collaboration, they feel uncomfortable with the development of such performing arts. Finally the Office banned the performance of the Kuda Lumping collaboration with the Leak, Pendet and Barong Bali dances. This is intended to restore the existence of the Kuda Lumping performance as originally as an art that has a characteristic Temanggung. Sri Budoyoâ??s Kuda Lumping Art is in a complicated situation, amidst the increasingly diverse demands of the peopleâ??s tastes. The determination of the people supporting the arts has been unanimous to maintain and preserve the Kuda Lumping art in order to continue to exist with its trademark. Various partner problems as a result of the entry of arts outside the region that disturb the existence of local arts as a regional characteristic, will be offered a solution to overcome the problems faced. Innovation is a method that will be carried out as a solution. The innovation carried out was the empowerment of children as the next generation of Kuda Lumping art in the village of Gandu II, who were looking forward to taking control of the arts in the village. The children were given Geculan dance training as a basis for their dance, the movements arranged according to their age. Keywords: Innovation, Folk art, Kuda Lumping.
UPACARA RITUAL BELIENT SENTIU DAYAK BENUAQ DI KAMPUNG PONAK KECAMATAN SILUQ NGURAI KABUPATEN KUTAI BARAT, KALIMANTAN TIMUR Nessy, Nessy; Rokhim, Nur
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (495.351 KB) | DOI: 10.33153/grt.v18i2.2874

Abstract

This paper describes the Ritual Belient Dayak Benuaq Ritual Ceremony in Kampung Ponak, Siluq Ngurai District, West Kutai Regency. This writing originated from the writer’s attention to the arts in East Kalimantan, especially in the village of Ponak, especially in the Benuaq Dayak tribe which still holds close to customs amidst the advancing era and rapidly developing medical science. BelientSentiu ritual ceremony in Ponak village is held when there are people who experience pain outside the medical. Rituals are carried out at night before midnight, according to the community if the ritual is carried out before midnight, the presence of ancestral spirits is more easily felt, and allows ritual performers to be able to communicate well with the spirits of the ruler of the upper world and the ruling spirit of the underworld. has a function that can meet the needs of the Benuaq Dayak community. In this ritual there is the Belient Sentiu dance which is a description of ceremonial activities related to the prevailing customary norms and belief in ancestral spirits. Tonyoi Dayak tribe and Benuaq Dayak tribe.ȱ Keywords:ȱ›’žŠ•ǰȱŽ•’Ž—ȱŠ¢Š”ȱŽ—žŠšǰȱŠ—ŒŽœ›Š•ȱœ™’›’œǯ
PENERAPAN PEMBELAJARAN KOOPERATIF STAD BERBANTUAN ANIMASI FLASH UNTUK MENINGKATKAN MOTIVASI DAN PRESTASI BELAJAR IPA Rokhim, Nur; Suparmi, Suparmi; Siti Aminah, Nonoh
Jurnal Inkuiri Vol 4, No 1 (2015): Jurnal Inkuiri
Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (33.496 KB)

Abstract

Penelitian ini bertujuan untuk meningkatkan motivasi dan prestasi belajar IPA pada pokok bahasan Listrik Dinamis siswa kelas IX E SMP Negeri 24 Surakarta Tahun Pelajaran 2013/2014. Metode penelitian yang digunakan adalah penelitian tindakan kelas (classroom action research) dan dilaksanakan dalam dua siklus. Subyek penelitian ini adalah siswa kelas IX E yang terdiri dari 25 siswa. Data diperoleh melalui pengamatan, angket, dan tes. Teknik analisis data yang digunakan adalah analisis deskriptif kualitatif. Berdasarkan hasil penelitian dapat disimpulkan bahwa: 1) penerapan model pembelajaran kooperatif STAD berbantuan animasi Flash dapat meningkatkan motivasi siswa dari 56% siklus I menjadi 100% pada siklus II, 2) penerapan model pembelajaran kooperatif STAD berbantuan animasi Flash dapat meningkatkan prestasi belajar siswa kelas IX E SMP Negeri 24 Surakarta pada Semester Ganjil Tahun Pelajaran 2013/2014 dari 56% siklus I menjadi 92% pada siklus II. Model pembelajaran kooperatif tipe STAD berbantuan animasi Flash dapat diterapkan pada kegiatan belajar mengajar IPA untuk meningkatkan motivasi dan prestasi belajar siswa pada materi Listrik Dinamis.
PENERAPAN PEMBELAJARAN KOOPERATIF STAD BERBANTUAN ANIMASI FLASH UNTUK MENINGKATKAN MOTIVASI DAN PRESTASI BELAJAR IPA Rokhim, Nur; Suparmi, Suparmi; Siti Aminah, Nonoh
INKUIRI: Jurnal Pendidikan IPA Jurnal Inkuiri
Publisher : Magister Pendidikan Sains Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/inkuiri.v4i1.9532

Abstract

Penelitian ini bertujuan untuk meningkatkan motivasi dan prestasi belajar IPA pada pokok bahasan Listrik Dinamis siswa kelas IX E SMP Negeri 24 Surakarta Tahun Pelajaran 2013/2014. Metode penelitian yang digunakan adalah penelitian tindakan kelas (classroom action research) dan dilaksanakan dalam dua siklus. Subyek penelitian ini adalah siswa kelas IX E yang terdiri dari 25 siswa. Data diperoleh melalui pengamatan, angket, dan tes. Teknik analisis data yang digunakan adalah analisis deskriptif kualitatif. Berdasarkan hasil penelitian dapat disimpulkan bahwa: 1) penerapan model pembelajaran kooperatif STAD berbantuan animasi Flash dapat meningkatkan motivasi siswa dari 56% siklus I menjadi 100% pada siklus II, 2) penerapan model pembelajaran kooperatif STAD berbantuan animasi Flash dapat meningkatkan prestasi belajar siswa kelas IX E SMP Negeri 24 Surakarta pada Semester Ganjil Tahun Pelajaran 2013/2014 dari 56% siklus I menjadi 92% pada siklus II. Model pembelajaran kooperatif tipe STAD berbantuan animasi Flash dapat diterapkan pada kegiatan belajar mengajar IPA untuk meningkatkan motivasi dan prestasi belajar siswa pada materi Listrik Dinamis.
ANALISIS ANTESEDEN YANG MEMPENGARUHI NIAT BELI ON-LINE PADA TOKOPEDIA.COM Rokhim, Nur; Adhilla, Fitroh
Jurnal Fokus Manajemen Bisnis Vol 5, No 1 (2015)
Publisher : Universitas Ahmad Dahlan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.12928/fokus.v5i1.1619

Abstract

This research was conducted to examine the antecedents that affect online purchase intentions. The sample used in this study amounted to 71 respondents. The sampling method using purposive sampling. Data analysis method used is quantitative analysis using validity and reliability tests, F tests, coefficient of determination, t tests and multiple regression analysis. By using the multiple regression method it can be concluded that the web design variable does not have a positive and significant effect on online purchase intention with a significance value (P Value) of 0.324> 0.05. While reliability has a positive and significant effect on online purchase intentions with a significance value (P Value) of 0.018 <0.05. responsiveness has a positive and significant effect on online purchase intentions with a significance value (PValue) of 0.061> 0.05. The guarantee has a positive and significant effect on online purchase intention with a significance value (P Value) of 0.815> 0.05. For ordering a positive and significant effect on online purchase intentions with a significance value (P Value) of 0, 002 <0.05. Simultaneously web design, reliability, responsiveness, guarantee, and ordering have a significant effect on online purchase intention with an F count of 5.960 with a significance value (P Value) of 0.000 <0.05. The resulting determination coefficient is 0.246, which means that 24.6 percent of changes in the online purchase intention variable are explained by changes in web design variables, reliability, responsiveness, guarantees, and bookings together, while the remaining 76.4 percent is explained by other variables which is not included in this study.
REKONSTRUKSI TARI BEDHAYA DIRADA META DI MANGKUNEGARAN Rokhim, Nur
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Program Pascasarjana Sekolah Tinggi Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (530.884 KB) | DOI: 10.33153/dewaruci.v8i1.1091

Abstract

This article is the result of a study into the reconstruction of the BedhayaDiradaMeta dance in theMangkunegaran.This dance is interesting in that it uses the name Bedhaya and is performed by seven male dancers. The battle whichMangkunegara I experienced in the forest of Sitakepyak on the day of Monday Pahing 17 Sura in the year Wawu1681J/1756 AD was the event which inspired the creation of Bedhaya Dirada Meta. The meaning of the BedhayaDiradaMeta dance is closely related to the philosophy ofMangkunegara Iâ??s struggle, promoting the concept of Islamicteachings (Sufism). In addition to this concept, the use of seven dancers is related to the events experienced byMangkunegaraI when he was fighting against theDutch. A socio-cultural approach was used, taken fromthe field of social and politicalsciences. In order to discover the history ofMangkunegara Iâ??s struggle, in relation to existing texts ormanuscripts, a literary(hermeneutic) framework was used, with a historical method, in order to obtain reliable data. The reconstruction of theBedhayaDiradaMeta dance by Daryono, Hartanto, andWahyu Santoso Prabawa, was founded on the problem ofcreativity in the field of dance.Keywords: Reconstruction, BedhayaDiradaMeta dance.
MAKNA SIMBOLIK TARI REYOG GEMBLUK TULUNGAGUNG Rokhim, Nur
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Gelar : Jurnal Seni Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (363.076 KB)

Abstract

Reyog Gembluk Dance was a tradiotional performing art that raised and developed and belongsto Tulungagung society. The dance was performed by six dancers carrying Gembluk as the portraitwarriorss sent by of the king of Bugis’s to propose Kediri Proncess, Dewi Kilisuci. Reyog GemblukDance moves was full of symbols in interpreting the moves of Bugis warriors carrying task fromtheir king. The instruments of Reyog Gembluk Dance were the symbols of Bebana from the kingof Bugis for Dewi Kilisuci. The symbols in Reyog Gembluk Dance were society convention as theaesthetic expressions tool to strengthen interaction weaves among them. Symbolic expressionsin arts were the communication medium to ourselves, society, and environment. The meaning ofReyog Gembluk Dance was based on an event or story that happened in society as the symbolismtradition in arts and culture. In arts, historical facts was not meant to be proven. The most importantwas there were space for symbolized message deliverance. Moral messages that being expressedin a fine and beautiful way through arts were more acceptable as a way of life. Reyog GemblukDance was full of symbols with moral messages, motivation, and spirit in dealing with life problems.
MAKNA “TUJUH” DALAM TARI BEDHAYA DIRADHA META Rokhim, Nur
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (651.11 KB) | DOI: 10.33153/grt.v14i2.1709

Abstract

TheBedhaya Dirada Metadance is performed by seven male dancersand is a symbol ofrespect to soldiers who have died in battle. The number seven in the Bedhaya Dirada Meta danceis closely related to the philosophy of Mankunegara Iâ??s struggle. The basis of Mankunegara Iâ??sstruggle in essence cannot be separated from the concept of leadership of the knights of Mataramwhich promotes three aspects, namely religion, morality, and culture. Of these three aspects, itsseems that the main philosophy used as a basis for Mankunegara Iâ??s struggle is the concept ofreligious Islamic teachings in order to reach a level of perfection and to draw closer to God theCreator.Keywords: meaning, seven, bedhaya dirada meta.
PEMADATAN TARI LAGU DHEMPEL DI STSI SURAKARTA Rokhim, Nur
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2419.214 KB) | DOI: 10.33153/grt.v9i2.435

Abstract

The Srimpi Lagu Dhempel dance is a traditional dance which grew and developed inside the palace walls. Originally this dance was not allowed to be performed outside the palace walls because of its exclusive nature and the strong sense of ownership within the palace. However, after the establishment of a number of art colleges in the 1970s, this dance began to be performed outside the palace, including at STSI Surakarta, which uses the dance as lecture material. STSI Surakarta is an institution of higher education for the arts in Indonesia whose mission is to develop the life of Indonesian art and culture which is oriented to the future. As such, the tendency towards change must take place within a framework of creativity and possess a dynamic quality. In this case, one example of change is the endeavour to create an abridged version of the Srimpi Lagu Dhempel dance. The creation of shorter versions of existing dances at STSI Surakarta was pioneered by the late Gendhon Humardani, and subsequently continued by many of his students. The abridgment of the Srimpi Lagu Dhempel dance was based on the concept of â??containerâ? and â??contentsâ?. The orientation of the abridgment is not time and the fact that the time becomes shorter is a result rather than the goal of the abridged version.Keywords : Abridgement, Srimpi Lagu Dhempel dance.
POPULARITAS KESENIAN JARANAN SENTHEREWE DI KABUPATEN TULUNGAGUNG Rokhim, Nur
Greget Jurnal Pengetahuan dan Penciptaan Tari Vol 12, No 2 (2013)
Publisher : Greget Jurnal Pengetahuan dan Penciptaan Tari

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Jaranan Sentherewe is a folk art from the Tulungagung regency which continues to existand thrive to the present day. This art form was created in the 1980s to replace the arts of jarananJawa and jaranan Pegon which had existed since 1949. Originally Jaranan Sentherewe was dancedby ludruk artists and as such, the movements were taken from the vocabulary of remo movementsfrom East Java. The presence of Jaranan Sentherewe provided a new spirit for theTulungagung community, as seen in their enthusiasm and the form of dynamic movements used.Its popularity has increased with the new developments in technology that have accompanied it.As a form of folk art, Jaranan Sentherewe cannot escape its function as a form of entertainment,catering to the taste of the community which is increasingly inclined towards the pop culture.Several innovations have been made to ensure that Jaranan Sentherewe continues to exist and itsperformances are still enjoyed by audiences. Performances aim to satisfy audiences by means ofactive interaction. The proof of such interaction can be seen when the dancers experience what isknown as ndadi. Some member of the audience also experience ndadi when listening to the monotonousjaranan music. This ndadi scene is awaited eagerly by the audience who are keen towitness the dancers’ movements when they experience a state of ndadi. In this way, the art ofJaranan Sentherewe cannot be separated from its supporting community, in terms of its existenceand also its form of performance which is always integrated with the audience.