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All Journal Jurnal JSIKA Harmonia: Journal of Research and Education Catharsis Jurnal Penelitian Pertanian Tanaman Pangan Jurnal Seni Tari Jurnal Kajian Ilmiah Jurnal Sistem Informasi Universitas Dinamika
Agus Cahyono
Department Sendratasik, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java, Indonesia
Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Engineering Environmental Science Social Sciences Other

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Seni Pertunjukan Arak-arakan dalam Upacara Tradisional Dugdheran di Kota Semarang (Arak-arakan Performing Art of Dugdheran Tradisional Ceremony in Semarang City) Cahyono, Agus
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v7i3.741

Abstract

Warga masyarakat Semarang, sebagai satuan masyarakat yang hidup di daerah pesisirutara pulau Jawa, juga memiliki peristiwa yang dipandang khusus dan memiliki artipenting. Salah satu peristiwa penting bagi kehidupan warga masyarakat Semarang yaituketika menyambut datangnya bulan suci Ramadhan, warga masyarakat Semarang selalumenantikan upacara tradisional dugdheran. Tradisi dugdheran dilaksanakan setahun sekalimenjelang bulan Ramadhan dan berlangsung hingga sekarang. Fenomena ini menarikuntuk dikaji dari perspektif sosial budaya. Artikel ini merupakan hasil penelitian yangbertujuan mengungkap makna simbolik arak-arakan dalam upacara ritual dugdheran dikota Semarang. Berdasarkan analisis data yang telah dilakukan diperoleh hasil, maknasimbolik bentuk pertunjukan Arak-arakan sebagai upaya dakwah bagi pemuka agamaIslam, edukatif bagi orang tua, rekreatif bagi anak, dan promosi wisata bagi kepentinganbirokrat dan masyarakat.Kata Kunci: Arak-arakan, dhugdheran, bentuk pertunjukan, makna simbolik
Pola Pewarisan Nilai-Nilai Kesenian Tayub ( Inheritance Pattern of Tayub Values) Cahyono, Agus
Harmonia: Journal of Arts Research and Education Vol 7, No 1 (2006)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v7i1.746

Abstract

Kesenian tayub sampai saat ini masih sangat populer dan bahkan barangkali tidak adatari Jawa yang lebih populer dari tayub ini. Masalah yang diangkat dalam penelitian iniadalah mengapa komunitas tledhek mampu mewariskan tayub sebagai keseniantradisional rakyat dari generasi ke generasi berikutnya? Secara khusus dan lebih tegasrumusan masalahnya dinyatakan sebagai berikut. Bagaimana pola pewarisan keseniantayub secara tradisional dalam masyarakat Blora?Lokasi penelitian di Desa JeponKecamatan Jepon dan di Desa Todanan Kecamatan Todanan Kabupaten Blora.Pengumpulan data dilakukan dengan menggunakan teknik observasi, wawancara, dandokumentasi. Proses analisis data yang ditempuh merujuk tiga jalur kegiatan analisisMilles dan Haberman.Ketiga komponen analisis tersebut aktivitasnya dengan prosesdari pengumpulan data, reduksi data, penyajian data, dan verifikasi sebagai suatuproses siklus. Hasil penelitian menunjukkan bahwa pola pewarisan nilai-nilai keseniantayub secara tradisional dari tledhek atau joged senior kepada para wurukan sebagaigenerasi penerus telah mewarisi nilai pengetahuan, nilai sikap, dan nilai ketrampilanyang memadai serta kesiapan untuk melanjutkan usaha sebagai penari tayub ataujogged.Kata Kunci: Pola Pewarisan, Kesenian Tayub, Nilai-nilai Tayub
PEMANFAATAN TARI BARONGSAI UNTUK PARISIWATA Cahyono, Agus; Putro, Bintang Hanggoro
Harmonia: Journal of Arts Research and Education Vol 10, No 1 (2010)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v10i1.52

Abstract

The problem studied is the form of performance and Barongsai choreography elements that are applied to help offering dan increasing the selling point of cultural tourism in Semarang. The objective of the study is to describe the form of performance and choreography elements of Barongsai as cultural tourism so that it can help the selling point of cultural tourism in Semarang. The result of the study, in general, is expected to be of beneficial as a theoretical and practical input to the related parties. In particular, the result of the study can provide empirical input for the artists, art observers, policy makers related to the cultural tourism. The method of the study uses qualitative approach. The study site was in Semarang. The data was collected by using controlled observation technique, deep interview, and documentary research. The data acquired is analyzed qualitatively by using interactive cycle model through reduction, presentation and verification process. The validation of the data and the analisys was done through trianggulation among research team. The result shows some findings. First, the form of Barongsai performance as cultural tourism is solid coreoragphy. Second, the coreography of Barongsai dance contain attractive elements and environmentally sound. Kata kunci: Tari Barongsai, pariwisata, koreografi padat, attractive, berwawasan lingkungan
The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia Taib Bin Saearani, Muhammad Fazli; Cahyono, Agus
Harmonia: Journal of Arts Research and Education Vol 16, No 1 (2016): (Nationally Accredited, June 2016)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v16i1.6145

Abstract

The background of this study is the effort of solving the inheritance problem faced by Malaysia in the case of Malay Palace dance which is currently in decline. This study is done by using best practice from the The Development and Inheritance of Yogyakarta Classical Dance (TKGY) done by the Ngayogyakarta Hadiningrat Palace and some formal and non-formal institutions in Yogyakarta, Indonesia. TKGY is chosen as it is viewed to have positive life in classical Palace dance and involve various actors and clear strategies. For three years, the researcher has done the research by observing the inheritance context (TKGY) to identify preservation phenomena done in Yogyakarta. This research is using a qualitative approach. The data are collected by doing in-depth interviews with some leaders of the main studios in Yogyakarta and Malay Palace dance choreographers in Malaysia. The result of the research shows that there are some similarities and differences between Malay palace dance in Malaysia and Yogyakarta classical dance. Some strategies have been used to describe how the Malaysian government adopts inheritance strategies (TKGY) used by actors in the inheritance discourse (TKGY).How to Cite: Saearani, M. F. T. B & Cahyono, A. (2016). The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia . Harmonia: Journal of Arts Research And Education, 16(1), 75-86. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6145 
Makna Simbolik Pertunjukan Linda dalam Upacara Ritual Karia di Kabupaten Muna Barat Sulawesi Tenggara Ardin, Ardin; Cahyono, Agus; Hartono, Hartono
Catharsis Vol 6 No 1 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17032

Abstract

Linda merupakan tarian tradisional suku Muna yang disajikan ketika puncak upacara ritual karia atau pingitan. Pertunjukan Linda juga sebagai ungkapan rasa terimakasih kepada para penonton yang telah membantu kelancaran acara, rasa syukur kepada para peserta karia yang telah melewati tahapan ritual yang begitu rumit dan sebagai simbol pembersihan diri bagi gadis-gadis karia atau pingitan. Penelitian ini bertujuan untuk mendeskripsikan makna simbolik pertunjukan Linda dalam upacara ritual karia di Kabupaten Muna Barat Sulawesi Tenggara. Metode yang digunakan kualitatif dengan pendekatan Antropologi Seni, Sosiologi Seni dan Pendidikan Seni. Teknik pengumpulan data meliputi observasi, wawancara dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi dan teknik analisis data yang digunakan adalah melakukan interpretasi berdasarkan konsep pertunjukan, gaya, isi tarian, dan konsep interpretasi spesifik. Hasil penelitian menunjukan bahwa pertunjukan Linda mempunyai makna sebagai proses pendewasaan, pembersihan seorang gadis remaja dan sebagai simbol moral atau etika. Linda is the traditional dance in tribe Muna that serves in the peak of Karia ceremony. The performance of karia is to represent thankgiving to the spectators that has assisted the best performances, blessing toward karia actors who have decreased complicated steps in the ritual and as the symbol of ritual for the karia girls. This study aimed at describing symbolic meaning from performance of karia in District West Muna, Southeast Sulawesi. The method of this study was qualitative with art education approach. The techniques of collecting data were observation, interview, and documentary study. The triangulation used interpretation based on concept of performance, style, content of dance, and concept of specific interpretation. The result indicated that performance of Linda has the meaning as the process of maturation, ritual for girls, and as a symbol of ethics.
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.
Wayang Kulit Wong Lakon Menjunjung Langit Mencium Bumi : Kajian Teks Pertunjukan Arisyanto, Prasena; Cahyono, Agus; Hartono, Hartono
Catharsis Vol 6 No 1 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17034

Abstract

Tujuan penelitian ini adalah untuk menganalisis pertunjukan Wayang Kulit Wong pada lakon Menjunjung Langit Mencium Bumi. Metode penelitian kualitatif digunakan dalam penelitian ini. Penelitian difokuskan pada lakon Menjunjung Langit Mencium Bumi. Teknik pengumpulan data menggunakan observasi, wawancara, dan studi dokumen. Teknik analisis data menggunakan konsep bentuk pertunjukan dengan empat langkah analisis data. Hasil penelitian menunjukan bahwa Wayang Kulit Wong merupakan bentuk pertunjukan yang baru. Wayang Kulit Wong merupakan gabungan dari pertunjukan wayang wong dan wayang kulit purwa. Wayang Kulit Wong dapat dipentaskan oleh siapapun, dimanapun, kapanpun tanpa ada syarat tertentu. Cerita yang dibawakan bisa bersumber dari berbagai hal. Musik pengiring dapat dipilih sesuai dengan kreativitas sutradara. Wayang Kulit Wong merupakan contoh pengembangan seni tradisi. Wayang Kulit Wong juga dapat digunakan sebagai materi apresiasi dan kreasi seni pada bidang pendidikan seni. The purpose of this research is to analyze the performances of the Wayang Kulit Wong on Menjunjung Langit Mencium Bumi story. Qualitative research method used in this study. The research focused on Menjunjung Langit Mencium Bumi story. The data collection techniques used are observation, interviews, document studies. Technique of  the data analysis using the concept of form performances with four steps of data analysis. The research result indicates that Wayang Kulit Wong is a form of new performances. Wayang Kulit Wong is a combination of performing wayang kulit purwa and wayang wong. Wayang Kulit Wong can be performed by anyone, anywhere, at any time without any specific terms. The story presented is sourced from various things. Music accompanist can be selected in accordance with the directors creativity. Wayang Kulit Wong is an example of the development of artistic traditions. Wayang Kulit Wong can also be used as a matter of appreciation and creation of art in the field of art education.
Nilai-nilai Piil Pesenggiri pada Tari Melinting di Desa Wana Lampung Timur Juwita, Dwi Tiya; Cahyono, Agus; Jazuli, Muhammad
Catharsis Vol 6 No 1 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i1.17035

Abstract

Tari Melinting merupakan tari tradisional Lampung.ciri khas kebudayaan Lampung Timur yang sampai saat ini masih terus dilestarikan oleh masyarakat setempat. Penelitian ini bertujuan untuk menemukan implementasi nilai-nilai Piil Pesenggiri pada tari Melinting. Penelitian ini menggunakan pendekatan interdisiplin dengan melibatkan disiplin ilmu Antropologi Seni dan Sosiologi Seni. Metode yang digunakan adalah metode kualitatif. Teknik pengumpulan data terdiri dari observasi, wawancara, dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi. Teknik analisis data dilakukan dengan cara mereduksi data, penyajian data, dan menarik kesimpulan. Hasil penelitian menunjukkan bahwa, nilai-nilai Piil Pesenggiri yang diimplementasikan pada tari Melinting tertuang ke dalam piil, nemui nyimah, nengah nyappur, bajuluk beadek, dan sakai sambaian. Nilai-nilai tersebut antara lain, nilai religius, harga diri, kerja keras, sopan santun, toleransi, komunikatif, intelektual, kebersamaan, kesamaan, menghargai alam, prestise, tanggung jawab, tolong menolong, adil, dan bijaksana. Melinting dance is a hallmark of East Lampung culture that today, still continues to be preserved by it local community. This thesis aims to discover the symbolic meaning and the Piil Pesenggiri values inside of Melinting dance. The research uses an interdisciplinary approach involving Anthropology and Sociology of Art dicipline of science. The method used is a qualitative method. Data collection techniques consist of observation, interview and document study. Data authenticity technique used triangulation techniques. Data analysis technique is conducted by reducing the data, presenting the data, and drawing conclusions. The researching results shows that, the values of Piil Pesenggiri implemented on Melinting dance implied inside the piil, nemui nyimah, nengah nyappur, bajuluk beadek, and sakai sambaian. Those values are the religiouness, dignity, hard work, good manners, tolerance, communicative, intellectual, togetherness, equality, respect for nature, prestige, responsibility, helping each other, fair, and wise.
The Inheritance Pattern of Wayang Orang Art in Padhepokan Tjipta Boedajatutup Ngisor Lereng Merapi Suparti, Suparti; Triyanto, Triyanto; Cahyono, Agus
Catharsis Vol 6 No 2 (2017)
Publisher : Catharsis

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v6i2.19285

Abstract

The purpose of the research is to, the inheritance pattern of Tjipta Boedaya’s Wayang Orang. The method of the research was qualitative method by using the approach of interdicipline which utilized etnochoreology study, anthropology, and sociology. The inheritance pattern of Tjipta Boedaya’s Wayang Orang. The location of the reasearch was at Padhepokan Tjipta Boedaya, dusun tutup ngisor. The technique of the data collection was using observations, interviews, and study dokumen, the technique of data validation was using triangulation, member check, and making thick description. The technique of the theory data analysis was using the concept which has been arraanged before and throughed four analysis stages which were data collection, reduction, presentation, and verification. The result of the research inheritance pattern of Wayang Orang divided into two paths, they were family path and environment path. Inheritance which been inherited including stories, themes, movements, cosmetics,and accompaniment. Inheritance pattern through family and environtment became the key of the establishment of Tjipta Boedaya’ Wayang Orang.
RANCANG BANGUN APLIKASI ANALISIS PERENCANAAN KEBUTUHAN TENAGA KESEHATAN MENGGUNAKAN METODE WISN (STUDI KASUS RSIA PRIMA HUSADA) Cahyono, Agus; Sudarmaningtyas, Pantjawati; Nurcahyawati, Vivine
Jurnal Sistem Informasi dan Komputerisasi Akuntansi (JSIKA) Vol 5, No 3 (2016)
Publisher : Jurnal Sistem Informasi dan Komputerisasi Akuntansi (JSIKA)

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

Abstract

Abstract: Mother and child hospital is a hospital that provide health services and medical services for the surrounding community. Health services and medical provided to the public is not optimal, this is because lack of the number of health workers that led to the average waiting time patients who do not meet standard prescribed by health department. The process of planning needs analysis of health workers in RSIA currently only reference to the rules of health minister regulation no. 340/MenKes/PER/III/2010 about a minimal amount of health to be owned and not consider their workload. While ideally in determining the amount of health workers have to consider their workload. It takes an appropriate solution that is using a method of WISN (Workload Indicator Staff Need) in the process of planning needs analysis of health workers based on their workload and can give a total number of optimal health workers needed.                 Results from the trial of research and evaluation of this final project research is that produce an application of planning needs analysis of health workers using methods WISN (Workload Indicator Staff Need) which can facilitate the user in determining the amount of planning needs of health workers required
Co-Authors Adi Prasetyo, Alfian Eko Widodo Afwa, Mughny El. Amsari, Uli ANGGRAINI, ERNA Ardin Ardin, Ardin Arista Pratama, Pande Putu Yogi Arisyanto, Prasena Arisyanto, Prasena Astuti , Yuli Tri Astuti, Andi Arie Astuti, Yuli Tri Atikoh, Alisahatun Bintang Hanggoro Putro Candra, Ronald Dewi, Ikasari Minali Dwi Tiya Juwita Eko Sugiarto, Eko Eny Kusumastuti Esti Verulitasari, Esti Guntaris, Endik Hamyana Hapsari, Priska Diyan Hartono Hartono Imran, Fitrya Ali Imran, Fitrya Ali Iryanti, Veronica Eny Jazuli, Jazuli Jazuli, Muhamad Lestari , Wahyu Malarsih Malarsih Muhammad Fazli Taib Bin Saearani, Muhammad Fazli Muhammad Jazuli Murtiyoso, Onang nirwanto, bagus Opta Septiana, Opta Pantjawati Sudarmaningtyas Prima, Empiri Tahya Rahmi, Ainu Rohman, Fadlur Setyaningrum, Gus Miyana Nela Setyaningrum, Ikha Sulis Solly Aryza Suparti Suparti suryaningrum, Feradilla anggun syakir syakir Taqi, Ahmad Yazid Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto, Totok Udi Utomo Vivine Nurcahyawati Wadiyo Wadiyo Widodo Widodo Yanti, Meipur Zairani, Ero Siska Zakiyati, Nur Muaffah