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All Journal Asas: Jurnal Sastra PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan AL-ISHLAH: Jurnal Pendidikan Sosial Horizon: Jurnal Pendidikan Sosial Gondang: Jurnal Seni dan Budaya Educatio Al Qalam: Jurnal Ilmiah Keagamaan dan Kemasyarakatan Jurnal Pendidikan Sejarah dan Riset Sosial Humaniora (KAGANGA) Journal of Education and Instruction (JOEAI) Alignment: Journal of Administration and Educational Management Jurnal Basicedu Jambura Economic Education Journal Journal of Education Research in Administration and Management (JERAM) EDUMATIC: Jurnal Pendidikan Informatika Journal Ilmiah Rinjani : Media Informasi Ilmiah Universitas Gunung Rinjani Journal of Elementary School (JOES) Tamumatra : Jurnal Seni Pertunjukan ABSYARA: Jurnal Pengabdian Pada Masyarakat Jurnal Kependidikan: Jurnal Hasil Penelitian dan Kajian Kepustakaan di Bidang Pendidikan, Pengajaran dan Pembelajaran ADMA: Jurnal Pengabdian dan Pemberdayaan Masyarakat Interdiciplinary Journal of Education
Hary Murcahyanto
Universitas Hamzanwadi
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Earth & Planetary Sciences Economics, Econometrics & Finance Education Electrical & Electronics Engineering Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Nursing Social Sciences Other

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PERTUNJUKAN MENUBUHKAN SENI(NYA INDONESIA) DAN RESPON PENONTON Murcahyanto, hary; HD, Dharma Satrya
Educatio Vol 11, No 1 (2016)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (284.254 KB) | DOI: 10.29408/edc.v11i1.251

Abstract

This study focused on the creative process and the audience response that refer to the post-colonial and post-modern theory. The method used is discourse analysis. The performance of Indonesia art processed during a month, which is in the lecturing process conducted during four meetings. The creative process starts from the discourse about the body and embody. The body discourse as a tool and goal. Body shown is the body of dance and drama, with another sentence is to embody the dance and Indonesian drama. The dances are performed is a dance of Papua, Kalimantan, Java, Bali, Indonesia, and Sasak. The sixth area was a representation of Indonesian art. The next show is a drama of White Blue Love then ended with a dance and Gugur Mayang music. The creative process based on the ability of setting up objects, events, pantomime and processes involving multimedia. All performances are getting response from the audience. There is good and less good respond. Some said exceptional, cool, fun, exciting, and entertaining. The responses indicate a logical reasoning about the stage and sense reasoning about the effect of the show. Another interpretation of these events in perspective post structuralism with refers to post structuralism Bartes and Foucoult and refers to post modernism Jameson and Lyotard, that the show was not be seen as a tradition or modernity, but an event with post-space, at the crossroads between tradition and modernity. The show speaks to the value.Keywords: Indonesia Art, Audience Response, Post-Structuralism, Post-Modernism   
PENGARUH INTERFERENSI TUTURAN BAHASA SASAK DALAM TUTURAN BAHASA INDONESIA PADA MASYARAKAT DESA KALIJAGA Murcahyanto, Hary
Educatio Vol 9, No 1 (2014)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (123.554 KB) | DOI: 10.29408/edc.v9i1.50

Abstract

Interferensi membawa dampak yang kurang baik terhadap  penggunaan  bahasa  kedua  bagi masyarakat, sehingga tidak jarang dijumpai adanya kesalahan tutur sehingga menjadi latar belakang dalam penulisan ini. Tujuan dalam penulisan  ini adalah untuk mengetahui bentuk ,wujud, dan pengaruh interferensi tuturan bahasa Sasak dalam tuturan bahasa Indonesia pada masyarakat desa Kalijaga Kecamatan Aikmel Kabupaten Lombok Timur. Tulisan ini merupakan hasil penelitian yang dilaksanakan di lingkungan desa Kalijaga Kecamatan Aikmel Kabupaten Lombok Timur dengan menggunakan metode empiris diskripsi kualitatif. Data merupal verbal lisan yang diperoleh dari informan dengan  menggunakan teknik observasi, dokumentasi, wawancara, dan rekam sadap. Adapun inti dari tulisan ini bahwa bentuk dan wujud interferensi tuturan bahasa Sasak dalam tuturan bahasa Indonesia pada masyarakat desa Kalijaga Kecamatan Aikmel Kabupaten Lombok Timur didominasi pada Interferensi fonologi dan morfologi.Pengaruh interferensi tuturan bahasa Sasak dalam tuturan bahasa Indonesia pada masyarakat desa Kalijaga Kecamatan Aikmel Kabupaten Lombok Timur yaitu terjadinya kesalahan penggunaan bahasa
LEKSIKON PEMBENTUK TINGKAT TUTUR PADA UPACARA ADAT SORONG SERAH AJI KRAMA DI DESA SAKRA KABUPATEN LOMBOK TIMUR Murcahyanto, hary
Educatio Vol 10, No 1 (2015)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (263.011 KB) | DOI: 10.29408/edc.v10i1.106

Abstract

Tulisan ini merupakan hasil penelitian dengan menggunakan metode ethnografik deskriptif kualitatif dengan teknik wawancara, observasi, dokumentasi, dan rekam sadap. Data yang diperoleh kemudian dianalisis dengan metode analisis diskripsi kualitatif.Tujuan  dari penelitian ini adalah untuk mendeskripsikan konsep penggunaan bahasa pada upacara adat Sorong Serah Aji Krama masyarakat desa Sakra sehingga penggunaan bahasa bisa dipertahankan dan mendeskripsikan tingkat tutur dan leksikon pembentuknya pada penggunaan bahasa dalam Sorong Serah Aji Krama sehingga masih digunakan sampai sekarang. Penelitian ini menyimpulkan bahwa,wujud penggunaan bahasa pada upacara adat Sorong Serah Aji Krama, terutama digunakan oleh pembayun penyorong,penampi, pisolo dan pengurang dalam salah satu rangkaian upacara terpenting pada prosesi perkawinan adat suku Sasak mulai dari Mesejati,Selabar, Bait Wali (Mengambil Wali), Bait Janji (Mengambil Janji), Sorong Serah (serah terima), Nyongkolan (mengiringi pengantin) sampai dengan Balik Lampak (Bales Nae) yang semuanya merupakan satu kesatuan rangkaian upacara perkawinan adat Sasak secara lengkap.Tingkat tutur dan leksikon pembentuk pada tingkat tutur atau pembicaraan dalam upacara adat sorong serah dapat digolongkan dalam tingkat tutur biasa, madya dan Utami.Sedangkan leksikon pembentuk dari tingkat tutur tersebut terdiri dari leksikon bahasa Sasak biasa, Sasak halus, Bali, Jawa, Jawa Kuna, Arab dan leksikon bahasa Indonesia.  Kata Kunci: Leksikon,Tingkat Tutur, Sorong Serah
THE EFFECT OF DEMOCRATIC LEADERSHIP STYLE, ORGANIZATIONAL CULTURE COMMITMENT ON ORGANIZATION AND SELF-CONFIDENCE ON LECTURERS’ PERFORMANCE OF STKIP HAMZANWADI SELONG LOMBOK TIMUR REGENCY Murcahyanto, Hary; Asmawi, Moch.; Madhakomala, R.
Journal of Education Research in Administration and Management (JERAM) Vol 2 No 1 (2018): Volume 2 Number 1 Year 2018 JERAM
Publisher : JERAM

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29061/jeram.v2i1.86

Abstract

The purpose of this study was to know how was the influence of democratic leadership style, organizational culture, commitment to the organization, confidence, and lecturers’ performance. How did the organizational culture affect organizational commitment, self-confidence, and lecturer performance. How did the organization's commitment to self-esteem, and how did it affect the learners’ performance.This paper was based on the results of research conducted at STKIP Hamzanwadi Selong college which was domiciled in Pancor Selong Sub-district, Lombok Timur regency of Nusa Tenggara Barat Province using survey method, taking samples from one population and using questionnaire as the instrument. Data collection technique was done through questionnaire with descriptive-verification design. The grain validity test is performed through empirical tests of instrument grains. The collecting data were analyzed using F- test and t-test. The results of testing hypothesis and data analysis showed that the democratic leadership style had a significantly influence on organizational culture, commitment to the organization, confidence and lecturers’ performance. Organizational culture had a significantly effect on commitment to the organization, confidence and lecturers’ performance. Commitment to the organization did  not have a positive effect on self-confidence, and confidence did not affect the lecturers’ performance.
ORGANOLOGI SELOBER PADA SANGGAR SELOBER PEJENENGAN DESA PENGADANGAN PRINGGASELA LOMBOK TIMUR Baha, M Abdi; Murcahyanto, Hary; Imtihan, Yuspianal
TAMUMATRA Vol 2, No 2 (2020)
Publisher : Universitas Hamzanwadi

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

Abstract

Tulisan ini berdasar hasil penelitian bertujuan untuk mendeskripsikan dan menguraikan bagaimana organologi alat musik tradisional selober yang diliohat dari klasifikasi fisiknya pada Sanggar Selober Pejenengan Desa Pengadangan Kecamatan Pringgasela Lombok Timur dengan menggunakan teori-teori organologi. Pendekatan yang digunakan dalam penelitian ini adalah kualitatif deskriptif. Dari hasil penelitian ditemukan tentang : 1) organologi dan proses pembuatan alat musik tradisonal selober, terdiri dari : tingkat kekeringan, proses pemilihan bahan, proses pengerutan, proses pembuatan garis lidah, proses pembuatan bagian kepala dan kaki alat musik, dan proses penghalusan. 2) produksi nada pada alat musik tradisional selober yang terdiri dari nada yang dihasilkan oleh selober mame dan selober nine.
Organologi Selober pada Sanggar Selober Pejenengan Desa Pengadangan Pringgasela Lombok Timur Baha, M Abdi; Murcahyanto, Hary; Imtihan, Yuspianal
TAMUMATRA Vol 2, No 2 (2020)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v2i2.2308

Abstract

This paper aims to describe and describe the organology of a traditional musical instrument as seen from its physical classification at the Selober Pejenengan Studio in the Village of Inflation in the Pringgasela District, East Lombok using organology theories. The approach used in this research is descriptive qualitative. From the results of the study found about: 1) organology and the process of making a traditional musical instrument as follows, consisting of: the level of dryness, the process of selecting materials, the process of contracting, the process of making tongue lines, the process of making the head and feet of musical instruments, and the refinement process. 2) the production of tones on a traditional musical instrument that consists of tones produced by Selober Mame and Selober  nine.
Koreografi Tari Kreasi Bala Anjani Nahdlatuzzainiyah, Nahdlatuzzainiyah; Yuliatin, Riyana Rizki; Imtihan, Yuspianal; Murcahyanto, Hary
TAMUMATRA Vol 4, No 1 (2021)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v4i1.4337

Abstract

This study aims to describe choreography analysis, namely the form of motion, motion techniques and dance style created by Bala Anjani Sanggar Tunggal Galih Denggen Village, Selong District, Lombok Timur Regency. This type of research is descriptive qualitative using analysis of motion forms, motion techniques and motion styles. Data collection techniques in this study use observation techniques, interviews, and documentation. Data validity techniques use triangulation techniques. The results of the analysis of dance choreography created by Bala Anjani obtained that; The form of motion in The Creation of Bala Anjani dance has the Unity Principle of 6 forms of motion which each has elements of space, energy elements and elements of time vary, The principle of variation consisting of variations of movement, tempo of music and floor patterns, Principle of Repetition in each motion is characterized by a different duration of time, the Principle of Displacement is carried out by a pause of movement of one to two seconds to the next movement, the Climax Principle is performed at a fast tempo on the last movement. In Motion Engineering does not have a medium technique but has a complete and different instrument technique on each movement. While in the Style of Motion consists of bejonjong motion that is raised at a high level, Ngampeh motion is flicking with downward and upward movements followed by varied footsteps and ngampet motion that is peeling with fast movements. The conclusion of this study is 1) the form of motion analyzed from the principle of unity between the space forces of time, the principle of variation, the principle of repetition, the principle of displacement and climax; 2) motion techniques are analyzed from; Medium technique and instrument technique 3) motion style consists of Bejonjong motion, Ngampeh motion and Ngampet motion
KESELARASAN GERAK, IRINGAN, DAN BUSANA PADA TARI DEWI SARASWATI Fatmasari, Intan; Murcahyanto, Hary
TAMUMATRA Vol 3, No 2 (2021)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v3i2.3741

Abstract

This study aims to describe the harmony of motion, fashion, and accompaniment to the dance of Dewi Saraswati. The approach used in this study is qualitative method of descriptor. By using the theory of harmony of harmony is conformity, harmony, harmony, and harmony. Data collection techniques using observation techniques, interviews and data collection with documentation. Data analysis used consists of three stages, namely data reduction, display data, and verification. Harmony of motion, fashion, and accompaniment in the dance Dewi Saraswati can be seen in terms of movement using basic motion (variety of motion) Balinese dance has a happy atmosphere with a sweet face nose cerungu (sweet smile), kekuwub (Authority). The accompaniment sound that also has a happy atmosphere, happy with a slow tempo, while because a dancer becomes a figure of Goddess, fashion in addition to being a supporting element of fashion in the dance Dewi Saraswati is in accordance with the history of the Dance Dewi Saraswati. The results of this study describe that harmony in the dance of Dewi Saraswati can be seen from the motion, fashion, and accompaniment in accordance with the history of Dewi Saraswati dance.
PEMERTAHANAN KESENIAN RUDAT SASAK DI LOMBOK Hary Murcahyanto; Bambang Eka Saputra; Muchamad Triyanto; Lalu Mas’ud; RR. Sri Setyawati Mulyaningsih; Syukron Hamdani; Abdul Rasyad
Sosial Horizon: Jurnal Pendidikan Sosial Vol 8, No 2 (2021): Sosial Horizon: Jurnal Pendidikan Sosial
Publisher : IKIP PGRI Pontianak

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31571/sosial.v8i2.2811

Abstract

Penelitian ini bertujuan untuk mengetahui faktor yang menyebabkan terjadinya pergeseran dan mengetahui bentuk upaya kelompok Rudat Sasak Lombok Timur dalam pemertahanan kesenian Rudat tersebut.  Di samping itu peneliti ingin mengetahui upaya masyarakat Desa Padamara dalam mempertahankan kesenian Rudat tersebut. Penelitian menggunakan metode kualitatif. Data diperoleh melalui observasi, wawancara, dokumentasi, dan kajian pustaka. Analisis data dilakukan melaui tahapan reduksi data, analisis data, dan penarikan kesimpulan. Hasil penelitian ini menunjukkan bahwa pergeseran kesenian Rudat Sasak Lombok Timur yang ada di Desa Padamara terjadi sebagai akibat perubahan zaman dan perubahan pola pikir masyarakat. Pemertahanan Rudat Sasak Tunggal Kayun dilakukan melalui mengumpulkan dan membina generasi muda, mengubah alur pementasan, membina hubungan intern dan ekstern, mengupayakan pementasan Rudat Sasak dalam setiap acara masyarakat. Menanamkan rasa memiliki, dan membangun hubungan yang baik antara para senior dan generasi muda dalam menjaga dan pemertahanan kesenian.
Teknik Iringan Musik dalam Komposisi Gerak Tari Oncer Lombok Tengah Hary - Murcahyanto; Riyana Rizki Yuliatin; Erli Mita Rosani
PROMUSIKA : Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Vol 9, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/promusika.v9i1.4881

Abstract

Tari Oncer merupakan salah satu kesenian tari tradisional yang terus dijaga dan dilestarikan oleh  warga Desa Puyung Kabupaten Lombok Tengah. Nama Tari Oncer diambil berdasarkan gerakan pokok tarian yang menyerupai gerakan ikan Sepat yang sedang berenang atau dalam bahasa Sasak disebut Pepait Ngoncer. Salah satu keunikan tarian ini adalah memiliki komposisi gerak yang berbeda dengan tarian yang ada di daerah tersebut. Selain itu tarian ini juga menggunakan iringan yang berbeda pada setiap gerakannya.Tulisan ini berdasarkan hasil penelitian yang bertujuan untuk mendeskripsikan komposisi gerak dan teknik iringan Tari Oncer di Desa Puyung Kabupaten Lombok Tengah. Pendekatan yang digunakan dalam penelitian ini adalah kualitatif deskriptif. Objek dalam penelitian ini adalah Tari Oncer itu sendiri yang meliputi komposisi gerak dan teknik iringan. Pengumpulan data dilakukan dengan cara 1) observasi, 2) wawancara, dan 3) dokumentasi. Analisis data dilakukan dengan 1) reduksi data, 2) penyajian data, dan 3) penarikan kesimpulan. Untuk memeriksa keabsahan data dilakukan dengan teknik validitas data yaitu dengan teknik trianggulasi.Dari hasil penelitian ditemukan bahwa: 1) komposisi gerak tari Oncer, meliputi: ragam gerak, dan pola lantai. 2) teknik iringan gerak tari Oncer terdiri dari a) hitungan ragam gerak tari Oncer; b) iringan musik tari Oncer; dan 3) alat musik tari Oncer.AbstractMusical Accompaniment Technique in Dance Composition Oncer Central Lombok. Oncer dance is one of the traditional dance arts continuously maintained and preserved by Puyung Village, Central Lombok Regency. The name Oncer Dance is taken based on the main dance movements that resemble the movements of the Sepat fish swimming or in the Sasak language; it is called Pepait Ngoncer. One of the uniqueness of this dance is that it has a different movement composition from the dances in the area. In addition, this dance also uses various accompaniments in each of its movements. This paper is based on the research results that aim to describe the composition and accompaniment techniques of the Oncer Dance in Puyung Village, Central Lombok Regency. The approach used in this research is descriptive qualitative. The object of this research is the Oncer Dance itself which includes the composition of the motion and accompaniment technique. Data collection is done by 1) observation, 2) interviews, and 3) documentation. Data analysis was performed by 1) data reduction, 2) data presentation, and 3) concluding the validity of the data for the check; the data validity technique was used, namely the triangulation technique. The study results found that: 1) the composition of the Oncer dance, including various movements and floor patterns. 2) the technique of accompaniment of the Oncer dance consists of a) a count of the variety of Oncer dance movements; b) Oncer dance music accompaniment; and 3) Oncer dance musical instrument.Keywords: Motion Composition, Traditional Dance, Oncer Dance, Accompaniment Techniques
Co-Authors ., Mohzana Abdul Majid Junaidi Abdul Rasyad Abdullah Muzakar Agus Riswanto Ainul Faizin Alfandi Al Ansori Alwan Alwan Hafiz Apriwulan Adhari Ashwan Kailani Asmawi, Moch. Baha, M Abdi Baha, M Abdi Baiq Desi Dwi Arianti Baiq Hikmah Widiawati Baiq Rismarini Nursaly, Baiq Rismarini Bambang Eka Saputra Dewi, Puspita Erli Mita Rosani Hafiz, Alwan Handini, Baiq Suprapti Hartini Haritani Hasan Basri Heri Gunawan Hidriana Sulastri Mahyumi Hilda Hastuti Hulfatul Husna Intan Fatmasari Jihan Jihan Laelatul Asyro Lalu Ahmad Alfian Bakti Lalu Mas’ud Lalu Murdi Lalu Murdi Murdi Linda Laili Harjuni Lukluil Himni M. Adib Rismarini Nursaly M. Zainuddin Maddukelleng Maddukelleng Madhakomala, R. Mariadah Mariadah Mawardi Mawardi Mispandi Mispandi Mochamad Triyanto Muchamad Triyanto Muh. Fahrurrozi Muh. Jaelani Al-Pansori Muh. Ridwan Markarma Muhammad Kadafi muhammad rapii Muhammad Shulhan Hadi, Muhammad Shulhan Musifuddin Musifuddin Nahdlatuzzainiyah, Nahdlatuzzainiyah Nazri, M. Adib Noor Hasim Nur Aetin Mahi Sofiana Nurul Hikmah Puspita Dewi Rahadi, Irwan Ramdhani, Sandy Rasyid Ridho Hamidy Rasyid Ridho Hamidy Riyana Rizki Yuliatin Ri’ina Ri’ina Rona Ika Febrian RR. Sri Setyawati Mulianingsih, RR. Sri Setyawati Sahman Sahman Satrya HD, Dharma Silvia Yolanda As Siti Ainun Hasanah Sopiroyani Sopiroyani Syukron Hamdani Titin Ernawati Ummi Risti Ayuni Rahman Waldimer Pasaribu Wawan Syafriawansyah Wirasandi Wirasandi Yulia Agustina Yuspianal Imtihan Zulfan Zulfan