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SISTEM TRANSMISI WAYANG WONG GAYA YOGYAKARTA: STUDI KASUS KARAKTERISTIK POCAPAN Mr. Sarjiwo
Joged Vol 3, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v3i1.60

Penelitian ini bertujuan untuk mengungkapkan sistem transmisi Wayang Wong Gaya Yogyakarta: Studikasus karakteristik pocapan. Teknik pengumpulan data yang digunakan adalah observasi, wawancara danstudi dokumentasi. Observasi dilakukan dengan melihat serta mengikuti aktivitas latihan dan pementasanyang dilakukan di sanggar-sanggar atau paguyuban, wawancara dilakukan secara terstruktur dengan panduanpedoman wawancara yang sudah dipersiapkan agar proses penjaringan data dapat lebih terfokus dan terarah,dan studi dokumentasi dilakukan dengan melihat hasil rekaman pementasan Wayang Wong GayaYogyakarta. Data yang berhasil dikumpulkan dianalisis dengan teknik analisis deskriptif kualitatif. Hasil penelitian menunjukkan bahwa, sistem transmisi pocapan Wayang Wong Gaya Yogyakarta terjadidalam dua sistem. Pertama dari sisi para penari atau pelaku generasi sebelumnya dan dari sisi generasiberikutnya. Sementara karakteristik di dalam Wayang Wong Gaya Yogyakarta dapat didapat pada karaktersuara, nada suara, irama pocapan, dan kemampuan pengaturan volume suara. Karakter suara di dalamWayang Wong Gaya Yogyakarta tidak dapat lepas dari karakter yang ada dalam Wayang Kulit Purwa,karena pada dasarnya wayang wong merupakan personifikasi dari wayang kulit purwa. Nada suara setiappemeran harus memperhatikan suasana gamelan yang diatur dalam pathet yang sedang berlangsung. Iramapocapan sangat berkaitan dengan karakter tokoh dalam pewayangan yang merujuk pada lagak, lagu,lageane. Kata kunci: Sistem transmisi, Wayang Wong, karakteristik pocapan.

Teknik Pengelolaan Tenaga: Kajian dalam Koreografi Tunggal Sarjiwo -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 1 (2010): Juni 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i1.501

Power Management Techniques: A Study In Choreography Single Dance. This study aims to reveal thepower management techniques in a single choreographic works (solo dance). Data collection techniques used byobservation and interviews. Observations made by looking at and following the staging of activities undertakenby informants/interviewers. While, the interviews were conducted in a structured interview guide that has beenprepared to crawl processed data so that it can be more focused and directed. Collected data were analyzed byqualitative descriptive analysis techniques with management approach. According to this research it can beconcluded that, in order to make good quality of choreography character and good quality of dancer characteristicrequired planning process by conducting exercises diligently. Exercise is necessary for organisms of the body to becapable to performing its function as a medium for optimal expression of dance. The pattern of organization ormotion compotition could not be separated from the planning process that has been made. Each choreographerhas a different way with each other. Activities of implementation related to the power management at the timechoreography displayed, related to the ability of the dancers on the power control, regulate breathing pattern byplacing a breathing pattern as part of the choreography, and management of emotions that are not easily infl uencedby the presence of spectators. Evaluation is required at the time of the cultivation process and after the choreographyform was displayed. Evaluation is needed so that the creation that has been produced not quit on the spot.

Rim-ba: Karya Tari Hasil Refleksi Kehidupan Suku Anak Dalam Sarjiwo Sarjiwo; Widyanarto Widyanarto
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 2 (2011): Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i2.489

Karya tari “Rim-ba” merupakan hasil dari refl eksi penata tari terhadap kehidupan Suku Anak Dalam (Orang Rimba) di Bukit Duabelas Propinsi Jambi. Hutan yang menjadi habitat dan tempat bernaung Suku Anak Dalam semakin sempit areanya. Hal tersebut disebabkan oleh adanya penebangan liar (illegal logging) maupun perluasan lahan perkebunan sawit. Tema yang diangkat dalam garapan karya tari ini adalah perjuangan hidup orang rimba. Bentuk penyajiannya simbolis representasional yang terbagi dalam empat adegan, yaitu adegan satu (introduksi) tentang keterbelakangan, adegan dua tentang ritus orang rimba, adegan tiga tentang aktivitas mata pencaharian orang rimba, dan adegan empat tentang perusakan rimba. Karya tari ini didukung oleh empat orang penari. Gerak tari berorientasi pada perilaku kehidupan sehari-hari orang rimba. Musik pengiring merupakan musik hasil editing secara digital dengan software nuendo dengan memasukkan unsur suara vocal. Tata rupa pentas berdasarpada atmosfi r suasana hutan, meliputi property instalasi kayu, akar sulur gantungan dan dedaunan. Busana yangdikenakan menyerupai busana asli Suku Anak Dalam yang sudah dimodifi kasi. Sedangkan tata cahaya yangdigunakan berorientasi pada nuansa cahaya alam.Kata kunci: rimba, suku anak dalam, bukit duabelasABSTRACT“Rim-ba”: A Dance refl ecting the Life of Anak Dalam Tribe. Rimba dance is the result of the choreographer’srefl ection on the life of Anak Dalam tribe (forest people / Orang Rimba) in Bukit Duabelas, Jambi province. The forestwhich is the habitat of the tribe is shrinking. This is due to the illegal logging and palm oil agriculture expansion. Thetheme of the dance is about the struggle of forest people in their life. The symbolic, choreographic representation is dividedinto four acts; the fi rst act introduces the underdeveloped condition of the people; the second act shows the rituals practiced by the forest people; the third act shows how the forest people earn their living; and the fi nal act visualizes the forest destruction. The dance is performed by four dancers. The dance movement orientates on the daily behaviors of the forestpeople. The accompanying music is composed and edited digitally by applying nuendo software and inserting vocal element in the software. The stage decoration shows a forest setting which includes wooden property, hanging roots and leaves. The dancers’ costumes resemble the original clothes of Anak Dalam tribe along with some modifi cations, whereas the lighting arrangement is based on natural lighting nuance.Key words: anak dalam dance, bukit duabelas

CARA PERNAFASAN DAN GERAK TORSO DALAM TARI GOLEK MENAK YOGYAKARTA Sarjiwo -
Imaji Vol 5, No 2 (2007): IMAJI AGUSTUS
Publisher : FBS UNY

The way of breath taking and torso movement are the esthetic characteristic of Yogyakartan Golek Menak dance. This dance, which was created by Sri Sultan Hamengku Buwono IX, is a dance inspired by Golek Menak puppet played by a dalang (the puppet player). The dance movement became a reference of Golek Menak Dance. The movement characteristic of Golek Menak puppet taken by Golek Menak dance is unjal ambegan (a way of taking a breath). Every dancer has to master that movement to be applied in every movement activity. However, not every dancer can do it well because unjal ambegan must be followed by torso movement to emphasize the movement so that the dance becomes beautiful. Therefore, unjal ambegan is not only a way of breath taking but also two body activities interrelated, not able to be independent. Both are ways of breath taking involving torso movement. Key words: Golek Menak dance, unjal ambegan, torso movement

Metode Pembelajaran Teater dalam Kegiatan Ekstrakurikuler: Tinjauan Praktik Sekolah Menengah Kejuruan Dwi Scativana Isnaeni; Nur Iswantara; Sarjiwo Sarjiwo
Indonesian Journal of Performing Arts Education Vol 2, No 1 (2022)
Publisher : Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijopaed.v2i1.6692

AbstrakTeater Skansa merupakan kegiatan ekstrakurikuler pilihan di SMKN 1 Bawang dalam bidang pengembangan minat dan bakat bidang seni dan budaya. Pembelajaran drama di Teater Skansa terangkum dalam kegiatan latihan rutin maupun latihan pementasan. Penelitian ini dilakukan untuk mendeskripsikan metode pembelajaran dan penerapannya dalam pembelajaran drama di Teater Skansa, SMKN 1 Bawang, Banjarnegara. Data penelitian diperoleh melalui observasi, wawancara, dan dokumetasi yang selanjutnya dianalisis secara deskriptif kualitatif. Teknik validasi data yang digunakan yaitu triangulasi sumber dan metode. Triangulasi sumber dalam penelitian ini dengan cara mengecek sumber data dari pembina, pelatih, alumni dan peserta didik anggota Teater Skansa untuk mengetahui proses pembelajaran. Sedangkan triangulasi metode mengecek kebenaran data yang berasal dari metode observasi dan wawancara. Selanjutnya data diolah dengan reduksi data, penyajian data, dan pengambilan kesimpulan. Hasil penelitian menunjukkan bahwa Teater Skansa menggunakan metode pembelajaran ceramah, demonstrasi, imitasi, latihan/drill, diskusi, presentasi, dan metode hybrid learning. Penggunaan metode tersebut sudah tepat karena proses pembelajaran dapat dilakukan dengan baik, selain itu peserta didik dapat menguasai materi dengan benar. AbstractSkansa Theater is an extracurricular activity of choice at SMKN 1 Bawang in developing interests and talents in the arts and culture. Drama learning at the Skansa Theater is summarized in routine practice activities and staging exercises. This research described the learning method and its application in learning drama at the Skansa Theater at SMKN 1 Bawang, Banjarnegara. The research data were obtained through observation, interviews, and documentation, then analyzed descriptively qualitatively. The data validation technique used is the source and method triangulation. Triangulation of sources in this research is done by checking the source of data from supervisors, trainers, alumni and students of Skansa Theater members to find out the learning process. In contrast, the triangulation method checks the truth of data derived from observation and interview methods. Furthermore, the data is processed by data reduction, data presentation, and conclusion. The results showed that Skansa Theater used lecturing, demonstration, imitation, practise/drill learning methods, discussions, presentations, and hybrid learning methods. This method is appropriate because the learning process can be carried out correctly. In addition, students can master the material correctly.

Strategi Pembelajaran Tari untuk Anak Usia Remaja di Sanggar Tari Kembang Sore Lia Yuliati; Sarjiwo Sarjiwo; Dilla Octavianingrum
Indonesian Journal of Performing Arts Education Vol 1, No 2 (2021)
Publisher : Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijopaed.v1i2.5099

Penelitian ini bertujuan untuk mengungkap dan mendeskripsikan strategi pembelajaran yang diterapkan pada pembelajaran tari untuk anak usia remaja di Sanggar Tari Kembang Sore (STKS). Pembelajaran tari untuk anak usia remaja di menjadi salah satu wadah bagi perkembangan anak usia remaja. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Sumber data penelitian ini adalah pelatih dan peserta didik STKS Cabang Bantul dan Ranting Kalasan. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan studi pustaka. Teknik validasi data yang digunakan yaitu triangulasi sumber data dan metode. Hasil penelitian menunjukkan bahwa penggunaan strategi pembelajaran disesuaikan dengan tujuan pembelajaran yang ditetapkan oleh STKS Pusat. Pembelajaran tari untuk anak usia remaja di Cabang Bantul menggunakan strategi pembelajaran kontekstual. Ranting Kalasan menggunakan strategi pembelajaran inkuiri dan kooperatif. Strategi Pembelajaran yang dipilih sudah tepat karena dapat meningkatkan kreativitas anak dalam memaknai serta menjiwai tari sesuai tujuan pembelajaran. This study aims to reveal and describe the learning strategies applied to dance lessons for adolescent students at STKS. Dance learning for adolescent students is one of the forums for adolescent students' development. This research uses a descriptive qualitative research method. The data sources of this research are the trainers and students of STKS Bantul and Kalasan Branches. Data collection techniques by observation, interviews, documentation, and literature study. The data validation technique used is a triangulation of data sources and methods. The results showed that the use of learning strategies was adjusted to the learning objectives set by the Central STKS. Dance learning for teenagers in Bantul Branch uses contextual learning strategies. Branch Kalasan uses inquiry and cooperative learning strategies. The learning strategy chosen is appropriate because it can increase children's creativity in interpreting and animating dance according to learning objectives.

Metode Pembelajaran Tari Rumeksa di Sanggar Dharmo Yuwono Purwokerto Galuh Destari Kumala Dewi; Sarjiwo Sarjiwo; Antonia Indrawati
Indonesian Journal of Performing Arts Education Vol 1, No 1 (2021)
Publisher : Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijopaed.v1i1.4919

AbstractThis study aims to uncover and describe several learning methods applied to learning Rumeksa Dance at Sanggar Dharma Yuwono Purwokerto. This research uses descriptive qualitative research methods. Data collection techniques are using observation, interviews, literature study, and documentation. In this research, the data sources were the teachers and students who took part in the Rumeksa Dance lessons at the Dharma Yuwono Studio. The data validation technique used was a triangulation of data sources and methods. In this study, triangulation of sources done by checking data sources from the head of the studio, teachers, and students to find out the learning process of Rumeksa Dance, while the triangulation method was done by checks the correctness of data derived from the observation and interview methods. Furthermore, the data obtained is processed and analyzed by data reduction, data presentation, and concluding. The results showed that the learning process of Rumeksa Dance used the lecture method, demonstration method, imitation method, drill or practice method, peer tutor method, and outdoor study method. The use of this method is appropriate because the learning process can be done well. Besides that, students can master the material and performed the Rumeksa Dance correctly.AbstrakPenelitian ini bertujuan untuk mengungkap dan mendeskripsikan beberapa metode pembelajaran yang diterapkan pada pembelajaran Tari Rumeksa di Sanggar Dharmo Yuwono Purwokerto. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Teknik pengumpulan data yaitu dengan cara observasi, wawancara, studi pustaka, dan dokumentasi. Sumber data dalam penelitan ini adalah pengajar dan peserta didik yang mengikuti pembelajaran Tari Rumeksa di Sanggar Dharmo Yuwono. Teknik validasi data yang digunakan yaitu triangulasi sumber data dan metode. Triangulasi sumber dalam penelitian ini dengan cara mengecek sumber data dari ketua sanggar, pengajar, dan peserta didik untuk mengetahui proses pembelajaran Tari Rumeksa, sedangkan triangulasi metode mengecek kebenaran data yang berasal dari metode observasi dan wawancara. Selanjutnya data yang diperoleh diolah dan dianalisis dengan reduksi data, penyajian data, pengambilan kesimpulan. Hasil penelitian menunjukkan bahwa proses pembelajaran Tari Rumeksa menggunakan metode ceramah, metode demonstrasi, metode imitasi, metode latihan atau drill, metode tutor sebaya, dan metode out door study (pembelajaran di luar kelas). Penggunaan metode tersebut sudah tepat karena proses pembelajaran dapat dilakukan dengan baik, selain itu, peserta didik dapat menguasai materi dan menarikan Tari Rumeksa dengan benar.

Nilai-Nilai Pendidikan Karakter dalam Langen Carita Lakon Patine Arya Penangsang Avyana Destyasti Lintang; Sarjiwo Sarjiwo; Nur Iswantara
Indonesian Journal of Performing Arts Education Vol 1, No 1 (2021)
Publisher : Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijopaed.v1i1.4918

AbstractCharacter education in Indonesia is being re-implemented to shape students to have intellect and character and can be taught through art education, one of which is Javanese opera. Langen carita is one of the arts that is intended to shape children's character as a continuation of children's art education. Langen carita is a form of the sariswara method in which there are literature, songs/music/karawitan, stories and solah bawa in short operas or children's plays (ages 10-14 years). Langen carita has also developed as a performing art with many historical stories, chronicles, or daily life, including Patine Arya Penangsang. This study aims to describe the values of character education in the language of the play Patine Arya Penangsang. This research uses a qualitative descriptive method by studying, analyzing, expressing, and describing character education values in performing art. Data collection techniques used literature study, interviews, observation, and documentation, which were then validated using triangulation. The results showed that Langen Carita entitled Patine Arya Penangsang has values of religious character education, tolerance, discipline, creativity, love for the country, responsibility, leadership, self-confidence, never giving up, cooperation, obedience, perseverance, patience, courtesy, and sincere. In the elements of drama, dance, and music. AbstrakPendidikan karakter di Indonesia sedang diterapkan kembali untuk membentuk siswa memiliki akal pikiran dan budi pekerti dan dapat diajarkan melalui pendidikan seni, salah satunya dalam bentuk opera jawa. Langen carita merupakan salah satu kesenian yang ditujukan untuk membentuk karakter anak sebagai lanjutan pendidikan seni dolanan anak. Langen carita adalah bentuk dari metode sariswara yang di dalamnya terdapat sastra, tembang/lagu/musik/karawitan, cerita dan solah bawa dalam bentuk opera kecil atau sandiwara anak (usia 10-14 tahun). Langen carita juga berkembang sebagai seni pertunjukan dengan banyak cerita sejarah, babad atau kehidupan sehari-hari, salah satunya patine Arya Penangsang. Tujuan penelitian ini adalah mendeskripsikan nilai-nilai pendidikan karakter dalam langen carita lakon Patine Arya Penangsang. Penelitian ini menggunakan metode deskriptif kualitatif dengan mengkaji, menganalisis, mengungkapkan, dan menggambarkan nilai-nilai pendidikan karakter di dalam suatu kesenian. Teknik pengumpulan data menggunakan studi pustaka, wawancara, observasi, dan dokumentasi, yang kemudian divalidasi menggunakan triangulasi. Hasil penelitian menunjukkan bahwa langen carita berjudul Patine Arya Penangsang memiliki nilai-nilai pendidikan karakter religius, toleransi, disiplin, kreatif, cinta tanah air, tanggungjawab, kepemimpinan, percaya diri, pantang menyerah, kerja sama, patuh, tekun, sabar, sopan santun, dan ikhlas dalam unsur drama, tari, dan musik.

Nilai-Nilai Pendidikan Karakter pada Tari Sekar Pudyastuti dan Relevansinya dalam Pembelajaran Seni Hanifah Winda Damayanti; Sarjiwo Sarjiwo; Agustina Ratri Probosini
Indonesian Journal of Performing Arts Education Vol 2, No 1 (2022)
Publisher : Jurusan Pendidikan Seni Pertunjukan ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijopaed.v2i1.5543

AbstrakPada saat ini anak-anak kurang memahami dan mengerti tentang nilai karakter dan kurangnya melestarikan kesenian daerah seperti seni tari klasik. Menarikan tari klasik tanpa mengetahui isi atau pesan yang ingin disampaikan pencipta tari merupakan permasalahan yang dialami pada masa sekarang. Penelitian ini bertujuan untuk mendeskripsikan nilai-nilai pendidikan karakter yang terdapat pada Tari Sekar Pudyastuti dan relevansinya dalam pembelajaran Seni Budaya. Penelitian ini merupakan penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan yaitu observasi, wawancara narasumber, dan dokumentasi yang sudah dimiliki oleh sanggar. Sumber data dalam penelitian yaitu ketua sanggar, pamong/guru, dan siswa. Hasil penelitian menunjukkan bahwa Tari Sekar Pudyastuti merupakan tarian yang bertemakan rasa syukur dan doa kepada Tuhan. Tari Sekar Pudyastuti mengandung nilai-nilai pendidikan karakter yang terdapat pada gerak tari, kostum tari, dan lagon/gérongan. Nilai-nilai pendidikan karakter tersebut meliputi nilai religius, tanggung jawab, toleransi, disiplin, demokratis, rasa dan karsa, rendah hati, mawas diri, dan filosofi kehidupan manusia. Nilai-nilai pendidikan pada Tari Sekar Pudyastuti memiliki relevansi dengan pembelajaran Seni Budaya di Sekolah Menengah Atas sehingga relevan dijadikan materi pembelajaran. AbstractAt this time, children do not understand the value of character and lack of preserving traditional arts such as classical dance. Dancing classical dance without knowing the content or message the dance creator wants to convey is a problem today. This study describes the values of character education in the Sekar Pudyastuti Dance and their relevance in learning arts and culture. This research is a qualitative descriptive study. The data collection techniques used are observation, interviews with sources, and documentation that the studio already owns. The study's sources of data were the head of the studio, tutors/teachers, and students. The results showed that the Sekar Pudyastuti Dance was a dance with the theme of gratitude and prayer to God. The Sekar Pudyastuti dance contains character education values in dance moves, costumes, and music/vocal. The character education values include religious values, responsibility, tolerance, discipline, democracy, taste and intention, humility, introspection, and the philosophy of human life. The educational importance of the Sekar Pudyastuti Dance has relevance to learning arts and culture in high school so that they are relevant as learning materials.

Bilah Berputar sebagai Media Pembelajaran Olah Tubuh untuk Melatih Gerak dalam Pengendalian Diri Sarjiwo Sarjiwo
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

The Rotating Blades as the Learning Media of Body Exercise to Train Movement in Self-Control. This study aims to reveal how media (blades) becomes the learning media of body exercises to train motion in self-control. This research is experimental research by giving treatment to research subjects. The treatment was carried out in three stages: (1) The study subjects adapted to the blades moving freely for 2 minutes; (2) the research subjects improvised motion freely while rotating the blades for 2 minutes; and (3) the research subjects improvised movement freely while turning the blades consciously to control themselves for 2 minutes. The motion process in the first, second, and third treatments was observed as the data for analysis. The observation was conducted by interviewing the research subjects. The results showed that in the first treatment, the blades that the research subjects rot hit the body, hitthe floor, and slack ropes accumulated twelve times. In the second treatment, the research subjects rotated the blades hitting the body, hitting the floor, and the slack ropes were cumulatively 21 times. And in the third treatment, the blades were rotated by the research subjects hitting the body, hitting the floor, and the slack ropes accumulated seven times. The research results indicate that if the free movement is not controlled, the possibility of an accident is more significant (21 times). Meanwhile, if the movement is controlled, the case of an accident is more minor (7 times).Keywords: rotating blade; body exercise; self-control

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