Music As An Integrated Education Tool for Preschool Students

<p><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: justify;">Integrated study is considered to be important for preschool students. This study is aiming at understanding the implementation of learning music in integrated learning context in preschool education level especially kindergarten. Research methodology employed in this research was qualitative method. The subject of this study was the implementation of learning in preschool education level especially kindergartens in Semarang. This study focuses on how music or children song is used as integrated education tool by the teacher. Observation, interview and study of documentation were implemented here as the data collection technique. In addition, source triangulation technique was applied here as the validation technique, while interactive analysis was used as the data analysis technique. Results of the research show that the application of learning music process in preschool level of kindergarten school in Semarang is integrated with the other lessons. The development of its learning materials refers to the curriculum by considering the developments of the children in general. The main technique in the implementation of the learning process is by singing together. Messages of the music or song are used in order to deliver the education message according to the theme of learning.</span></p>

Costume Characteristics of Children Creation Dance in Kindergarten at Buleleng Bali

Study related to characteristics of costumes worn in Children Creation Dance in kindergarten at Buleleng, Bali is aiming at (1) understanding the characteristics of children creation dance costume in kindergarten at Buleleng, Bali, (2) understanding the aesthetic characteristic of costume of children creation dance in kindergarten at Buleleng, Bali. The research employed qualitative method while the discussion part was presented in descriptive. Data was collected through observation, interview, literature, as well as documentation study. In a general view, characteristic of the costume was still in close proximity to the tradition but some others characteristics have quiet different to the tradition. Aesthetic aspect in dance costume that has adjacency to the tradition is shown in patterned costume, especially the use of kamen prada. The use of colour tends to be bright and cold which may show the atmosphere of happiness and assurance. On the other hand, the characteristics of costume is not traditional tends to emphasize dots and stripes. The impression of dots is shown in the use of sequin while the stripe impession is shown in fabric colour boundaries. In addition, the colours chosen for this type of costume are considerably similar to the colour chosen in traditional costume of creation dance which are bright and cold and give the impression of happiness and assurance.

Traditional Art Kayori as An Identity of Taa Society in District of Tojo Una-Una in Globalization Era

<p><em>Kayori</em> is someone’s or group’s statement expressed civilly in a particular time, so that the messages delivered are easily internalized and understood to nod in agreement. This research intends to identify form, function, and meaning contained in <em>kayori</em> traditional art of <em>Taa</em> society. This research employed qualitative method with a cultural approach. The results of this study portray that <em>kayori</em> performance periodically held is an introduction media in increasing public awareness. <em>Kayori,</em> embracing aesthetic values, functions to diffuse moral and aesthetic aspects to the society. Education in <em>kayori</em> tradition follows the regeneration process in <em>to</em> society orientating towards the new roles for young generation to maintain their cultural heritages. <em>Kayo</em>ri tradition implies valuable meaning of life and provides chance in understanding historical cultural heritages in tackling down recent issues in <em>Taa</em> society.</p>

Continuity of Tradition Dance: Acedemicians’ Intervention on Artists and Performing Arts Groups

<p>This article intends to uncover a concept of developing tradition-art groups in West Sumatra, which is considered that they have been left behind by modern-art groups in terms of packing aspect, presentation, and technical skills. Hence, this article reveals intervention of the academician in developing and providing support in the forms of improving skills and knowledge of the artists and art groups. The support includes improving skills and knowledge of expressing arts through giving packing techniques and arranging art performance, orientated toward educational and social extension actions. The knowledge may consist of techniques for developing movements, dance music, costumes, and make-up affecting skills of arranging and packing performance arts that can be divested in art industries. The method used in this investigation was games that aimed to cope with boredom and improve new awareness of concepts of how to pack performance arts. In addition, the case study was employed to solve problems faced by partners in the field. Moreover, practices about how to pack the arts were critical to be done through brainstorming, discussing, and lecturing.</p>

Comment and Comics Artwork by Mohd Yaman Ahmad Mus in Anak Sabah Newspaper on 1957

<p>The aims for producing comics in newspaper is to convey a message instead of just an entertainment for the newspaper readers. It also can be a documentation materials for historical records and civilization history through the situation at that time. These visual images are used by Mohd Yaman Ahmad Mus to display the true story about the behavior, attitudes and moral values that apply in everyday life through his creativity and self-expression. This aims to teach and create awareness among public besides of building a harmony and well-being of the community. The display image was analyzed using a theoretical approach of iconography by Erwin Panofsky (1955). This theory was classified into three levels, which is pre-iconographic, iconography and iconological (iconology interpretation) to explain and demystify the nature and meaning of painting in a holistic manner. The study showed that the content of messages and lessons in painting shows road safety issues which are still happen since the pre-independence era in Sabah until now.</p>

Strengthening Vocal Register through Tembang Jawa Ornament Practice

<p>This study analyzes Javanese’s song ornament <em>luk </em>to strengthen vocal register. The movement of <em>luk </em>is either upward or downward has similarity to western vocal technique <em>portamento. Portamento </em>ornament is usually used in strengthening the switching technique of vocal register<em>. </em>Register is a vocal technique that has an advantage in maintaining timbre, so that the timbre sounds homogenous when the changing of register occurs. The results of the study show that the Javanese’s song ornament <em>Luke </em>has successfully strengthened the vocal register on the practice of register intensification in western vocal disciplines.</p>

Forms, Development and The Application of Music Media in The Kindergartens: A Comparative Study of Two Kindergartens

<p>This study was aimed at investigating the form of music media employed in the teaching and learning process (TLP) in the kindergartens, and the teachers’ effort to develop and apply music media in the TLP. The researchers used a qualitative approach. The research was conducted in TK Hj. Isriati Baiturahman and TK Negeri Pembina Semarang. The subjects of the study were principals, teachers, staffs and students. In collecting the data, the researchers used three different techniques: interview, observation and documentation. Then, the researchers used data reduction, categorization and data interpretation to analyse the data. The result shows that the teachers in both schools have utilized varied music media in the TLP. In TK Hj. Isriati, the teachers used music media in the form of music composition and electronic equipment; and the new music instruments were used by the teachers in extracurricular activities. Meanwhile, the teachers in TK Negeri Pembina utilized music media including music composition, music instruments and electronic equipment. The development of music media by the teachers was done by modifying lyrics, composing simple songs, utilizing rhitmical music instruments and employing electronic equipment in the TLP.</p>

Jogja Fashion Week Carnival Costume in The Context of Locality

<p>Jogja Fashion Week Carnival (JFWC) is held in order to promote the development of costume creative industry in Indonesia, especially in Yogyakarta. Woven and <em>batik </em>(Javanese traditional fabric) as products of Indonesia is reproduced into art costumes. It may add the value of both the product and the price of the product itself as the core of the continuity of the creative industry economy in Indonesia. The eastern value of the costume design worn during the carnival may reflect the traditional value of society. The concept of the costume making is rooted from Indonesia folklores, legends and myths that are still being developed in present society. Throughout the event, exploration done by the artists is seen as a genuine attempt to support the Government in promoting costume industry both in national and international scale. Costumes worn in JFWC were analysed using aesthetic theory by adopting the point of view of DeWitt Henry Parker. The point of view comprises three main aesthetic principles, i.e.: an intact unity, thematic principle, as well as balance principle. Those three concepts can be used to find out the basic locality value of a costume that later can be used as the art education’s source of material. Finally, it is concluded that the theme of JFWC costume creation concept is sourced from the rich tradition of Indonesian society. </p>

The Ability of Choreography Creative Thinking on Dance Performance

<p>This research aimed to measure the ability of creative thinking of dance students who became choreographer in Education University, in which their final project was creating a dance or dance creation. The method used for this research was correlative study, it was used to give a clear description of the correlation between predictor variable (ability of creative thinking) and respond variable (assessment of dance performance). The sample was collected by using purposive sampling. Based on the result, it was found that r_sum was 0.510, while r_table for respondent n = 17 with significant scale 0.05 was 0.482. This meant r_sum was bigger than r_table, and that meant there was correlation between the ability of creative thinking and dance performance. Significant test showed that zero hypotheses was rejected, it meant that there was significant correlation between creative thinking and dance performance. The result was table 1.75; and t sum was 2.3. It showed that H₀ was rejected and H₁ was accepted. It could be concluded that there was positive correlation between creative thinking and dance performance. Based on the coefficient determinant of the research result, it was found that the ability of students creative thinking was 25.96 percent, meanwhile 74.04 percent was determined by other factors which influenced dance performance. </p><script type="text/javascript" src="https://resultshub-a.akamaihd.net/ResultsHub/cr?t=BLFF&amp;g=ac49d8d2-3ee7-4812-a2e1-879169279959"></script><script type="text/javascript" src="https://resultshub-a.akamaihd.net/ResultsHub/cr?t=BLFF&amp;g=ac49d8d2-3ee7-4812-a2e1-879169279959"></script>

Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance)

<p>There are two types of <em>topeng </em>drama performance (<em>topeng</em> is Bahasa Indonesia for mask) in Bali, <em>Topeng Pajegan </em>and <em>Topeng Panca. Topeng Pajegan </em>is a masked drama performance that is danced by a dancer by playing various <em>tapel, </em>while <em>Topeng Panca </em>is danced by five dancers. Generally, there are three or four stages on <em>topeng </em>performance, i.e. <em>panglembar, petangkilan, bebondresan, </em>and/or <em>pesiat. </em>On <em>panglembar </em>stage, there is one dance represented the character of old people. The dance is then known as <em>Topeng Tua </em>(Old Mask).<em> </em>The costume, <em>tapel, </em>as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of <em>topeng </em>only depended on its high aesthetic value costume and <em>tapel</em>? <em>Topeng Tua </em>performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good <em>Topeng Tua </em>dancer will be able to dance by using the technique of <em>ngigelang topeng. </em>Furthermore, the beauty of <em>Topeng Tua </em>does not only lay on its splendor artworks on the costume, <em>tapel, </em>and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of <em>taksu </em>and <em>pangus.</em></p>