Authors:Chun Mei Zhuang, Kok Chang Pan Pages: 200 - 212 Abstract: Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the “Eurocentrism” values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by multicultural music education. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.33225 Issue No:Vol. 22, No. 2 (2022)
Authors:Clare Suet Ching Chan Pages: 213 - 226 Abstract: The 24 Jie Ling Gu (24 Festive Drums) is a drum ensemble that consists of 24 lion drums (shigu) played by twenty-four drummers who move to spectacular and dynamic choreography in synchronization with the rhythmic patterns struck on the shigu. It is an “invented tradition” created by the Chinese diaspora of Malaysia. In response to the 1970s National Cultural Policy (NCP) which aimed toward the construction of a homogenized national identity, the Chinese founded the 24 Jie Ling Gu ensemble to enact cultural solidarity and unify the people toward a sense of belonging to their distant motherland in China. They created the music and movements of the 24 Jie Ling Gu to manifest the 24 jie ling (phenomena)—the weather changes, agricultural activities, and natural phenomenon inherent in the 24 jie qi (jie: joints; qi: breath) or seasonal periods. Due to the fact that the Chinese of Malaysia have not physically experienced China but are connected to it through literature and media technology, I argue that the 24 Jie Ling Gu performers utilized their imagination and localized experience of Malaysia to manifest the 24 jie ling in China. This article is based on ethnographic fieldwork and ongoing revisits to this genre through a span of more than 20 years. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.31813 Issue No:Vol. 22, No. 2 (2022)
Authors:Bedjo Riyanto, Nurhayatu Nufut Alimin, Endri Sintiana Murni Pages: 227 - 240 Abstract: The focuses of this research are the visual style reconstruction of cigarette advertisements published in magazines during the colonial era of the Dutch East Indies and the expressions of lifestyle recorded in them. This study examines the visualization and visual style of cigarette advertisements published in magazines in Indonesia from 1925 to 2000. This study also aims to reconstruct the lifestyle in the visual representation of cigarette advertisements as a reflection of the process of social change in Indonesian society during the colonial to the post-colonial period (1925 - 2000). This research employed descriptive analytical methodology, with the main theory of the social history of Art and David Chaney’s lifestyle theory. The visual style of Oriental Modern Eclecticism captures the Indies’ hybrid lifestyle expression, namely: a pseudo-modernity lifestyle as a result of the integration among the colonized communities which were spread across the Dutch East Indies (1925-1942). The cigarette advertisements of that era presented an imaginary world that depicted the harmonious social interactions of various social layers which is contrary to the social reality of the segregated colonial life. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.38636 Issue No:Vol. 22, No. 2 (2022)
Authors:Mulyanto Mulyanto, Lili Hartono, Endri Sintiana Murni, Endang Sri Handayani, Desy Nurcahyanti Pages: 241 - 253 Abstract: Many batik motifs have been developed in various regions, inspired by various local resources such as plants, animals, regional icons, cultural arts, etc. The objective of this study is to look for ideas in the form of teak leaves and flowers that can be developed into batik and textile motif designs. The descriptive qualitative, literature review, participatory follow-up study, focus group discussion method, and the development of craftsman creativity were all used to achieve these goals. The study took place at the Jalidin batik craft shop in Sragen. Teak plant objects, motif designers, batik craftsmen, and libraries were among the data sources. The findings of the study were the motifs in the form of teak leaves and flowers, which could be used as master designs for both batik and textiles. Then the shape of the teak leaves and flowers are arranged in various compositions to produce several designs, and the batik motif designs are applied to jarit-patterned batik, long-sleeved shirt-patterned batik, and textile/printed batik. The resulting motifs were then produced into batik according to the economic class projections of the consumers, namely the consumer’s economic class projections, using prima and primissima cloths, combination and writing techniques, synthetic and natural dyes, and synthetic and natural dyes. In addition, the motifs were produced into printed textiles/batik. Batik cloths and textiles that have been produced are then made into shirts. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37874 Issue No:Vol. 22, No. 2 (2022)
Authors:Aris Setiawan Pages: 254 - 267 Abstract: This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da’wah after the Wali Sanga era (Nine Saints). In Central Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenomenological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37525 Issue No:Vol. 22, No. 2 (2022)
Authors:Petrik Mahisa Akhtabi, Lina Puryanti Pages: 268 - 282 Abstract: This study explores the context of identity in the musical arts echoed by a Black Metal band from Kediri, Immortal Rites. Aesthetically, Immortal Rites articulate Javanese locality using Black Metal, a sub-genre of underground music that emerged in Indonesia in the late 90s. Accordingly, the band lined up as one of the Kejawen Black Metal whose consistency and depth of understanding are well appreciated within the scene. The unification of two different cultures provokes a complex contemporary value of a cultural reflection concerning identity. This study uses a qualitative research method with a descriptive approach. This study aims to discuss the narrative of identity that Immortal Rites wish to embody for its fans to understand. By focusing analysis on the main data of song lyrics with additional data in the form of interviews, we found that the echoed locality represents a notion of contemporary Javanese identity. Within the arts, there was a close relevance of the content with the identical Javaneseness in the era of the Kadiri kingdom. Thus, based on the engagement of the arts and the Kediri-based Javaneseness, it leads us to an understanding of the mediated cultural representation of contemporary Javanese identity, of a Daha-based Javanese identity. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37513 Issue No:Vol. 22, No. 2 (2022)
Authors:Yanti Heriyawati, Afri Wita Pages: 283 - 297 Abstract: There are many global literatures of art appreciation, but only few of them focus on maritime art appreciation. Filling the vacancy requires study of how the community or public values maritime art works in the context of coastal community’s literacy. This paper aims to show appreciation of Indonesian maritime art works. It presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants consisted of academician, governmental official, artist, creator, community, kiyai, and student. The maritime art works which are appreciated were “Segara Garam’ and “Tasbih Pesisir”. They are considered as natural and virtual art works. Respondents’ insight, knowledge, and experience showed varied perceptions. Participants with maritime culture background were quite expressive in expressing the importance of local wisdom values of the coastal community. Meanwhile the respondents without maritime culture background paid more attention on artistic and aesthetic aspects, instead of on meaning. Sociocultural difference influenced how they appreciated and produced the knowledge of maritime culture. Respondents’ cognition and affective abilities show varied interpretation, perception, and meaning of art values. Their experience of appreciation showed the importance of perception of maritime art in actualizing local genius. The appreciation of maritime art was performed to improve people’s awareness of strengthening maritime culture literacy. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37140 Issue No:Vol. 22, No. 2 (2022)
Authors:Richard Junior Kapoyos, Suharto Suharto, Syakir Syakir Pages: 298 - 310 Abstract: This research aimed to see the phenomenon of the bia music of the Minahasa tribe that needed to be carefully observed in considering Bia Music then until now was shifting and changing due to the society’s lack of awareness towards Bia Music. This traditional music was very concerning due to the decreasing quantity and quality of the players. The objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. The research applied a qualitative method with data collecting techniques by interview, observation, and literature review. Data validation technique based on credibility criteria, using data triangulation. Data analysis techniques consisted of collection, data presentation, data reduction, and data verification. The results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. This music has become part of the social life of the people in Batu village, North Minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37619 Issue No:Vol. 22, No. 2 (2022)
Authors:Yasin Surya Wijaya, Sindung Tjahyadi, Vissia Ita Yulianto Pages: 311 - 325 Abstract: This study focuses on Panji masks in Bobung, Yogyakarta region. The study aims to explain the shape, meaning, and paradoxical aesthetic value in the visual form of panji masks focused on alusan and gagahan profiles. A qualitative approach with a multiple-case strategy conducted in the research. Data sources derived from documents/archives, informants, and places/events collected by document analysis techniques, in-depth interviews, and participatory observation. Data validity was tested by data sources triangulation and review informants. Interactive techniques with data reduction procedures, data display, and data verification analyzed data. The results show that the structure of the panji mask in Bobung was composed of visual forms which contained philosophical meanings. The shape and meaning of the Bobung panji masks in Alusan and Gagahan profiles contain an aesthetic value that is dualistic antagonistic (paradoxical). The panji masks in Bobung contain paradoxical aesthetic values in two patterns, three patterns, four patterns, and five patterns. The conclusion is that the visual form of Panji masks in Bobung, Yogyakarta, is structured by paradoxical aesthetic value. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37093 Issue No:Vol. 22, No. 2 (2022)
Authors:Agastya Rama Listya Pages: 326 - 336 Abstract: This article aims to propose a classification of Rotenese traditional musical instruments based on the Hornbostel-Sachs (the H-S) method. The author conducted this ethnographic field research on the island of Rote, East Nusa Tenggara Province, from 2015 to 2016. The seven existing Rotenese traditional musical instruments analyzed in this article are: 1) meko ai or the meko o (the wooden or the bamboo xylophone); 2) the meko besik or the meko lilok (the hanging iron or brass gongs); 3) the meko besik or the meko lilok (the iron or brass metallophone); 4) the labu kici or the labu so’e (the single-headed, bowl-shaped drum); 5) the tambur or the labu (the single-headed, long cylindrical drum); 6) the bitala (the crash cymbals); and 7) the sasandu (the heterochord tube-zither). The only Rotenese traditional musical instrument that is not discussed in this article is kianuk, the two-holed bamboo flute, approximately ten centimeters long. This instrument does not exist anymore. The four aspects discussed in this article are 1) the construction, 2) the materials, 3) the ways of playing, and 4) the size of the instruments. Information was gathered from interviews with some key persons and through photography and video recording. This research acknowledges some limitations; for instance, providing exact information is challenging and limiting in the absence of a standard for meko tuning and making. Therefore, the information given here about the size, the material, the tuning, and the note intervals is an approximation. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.38218 Issue No:Vol. 22, No. 2 (2022)
Authors:Husen Hendriyana Pages: 337 - 354 Abstract: The meaning of a term is supported by the cultural values of the supporting community, specifically the designer community, who recognize and have faith in the contained values. In a broader sense, the terms kriya and kerajinan are components of the craft-science field. Since 1968, the meaning of the terms kriya, kerajinan, and Craft has been a source of contention among stakeholder community groups in Indonesia. This article aims to convey a scientific understanding of adaptive crafts based on the global development of Indonesian indigenous crafts. This study employed a descriptive-analytical method and an ethnographic communication approach, focusing on sociolinguist studies that include diachronic and synchronic studies. Based on current and relevant theories, the research findings demonstrated the development of Indonesian indigenous crafts in a global context. In conclusion, the Hasta Cipta Preneurship (HCP) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduction, humanists, and support. This HCP creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of Laku Hidup Lestari (LHL-- Sustainable Lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achievement to the aspect of user needs, solutions, and innovation. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.36567 Issue No:Vol. 22, No. 2 (2022)
Authors:Elmi Novita, Santosa Soewarlan, Nyoman Sukerna Pages: 355 - 367 Abstract: This study aimed to explore manortors as a medium for building solidarity and identity for the Mandailing community in Rokan Hulu Regency, Riau Province. The research method was carried out through observation of manortor performances in Menaming, Bangun Purba, and Khaiti Villages as Mandailing ethnic dominions in Rokan Hulu. The observation focused on the movement aspect of the manortor. In-depth interviews were conducted to reinforce the data obtained through the observation of the manortor and to explore how aspects of the movement in the manortor build solidarity and identity. The results showed that manortor is a dance that embodies kinship relationships with dalihan na tolu. The form of movement, standing position, and order of performance should be in line with the norms of kinship. The group members dance together with movements representing kinship relationships and strengthening kinship relationships, building solidarity and a strong self-identity.English translation. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.36753 Issue No:Vol. 22, No. 2 (2022)
Authors:Iryna Mazur, Tеtіana Нrinchenko, Olena Teplova, Liudmyla Onofrichuk, Olena Priadko Pages: 368 - 380 Abstract: The article’s purpose is to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. The study applies the diagnostic technique for the cognitive style of individuality (T. Dudnikova, O. Volkova), analysis-holism scale (Choi, Koo, and Choi), Cattell test (16PF - C), musical thinking questionnaire developed by authors (I. Mazur, T. Нrinchenko, O. Teplova, L. Onofrichuk, O. Priadko). The study presents the first approbation of the musical thinking questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work. The authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. Dominants in musicians’ musical thinking are the emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.39518 Issue No:Vol. 22, No. 2 (2022)
Authors:Suastiwi Triatmodjo, Ted Tsung-te Tsai, M. Agus Burhan, Hanggar Budi Prasetya, Endah Budiarti Pages: 381 - 391 Abstract: This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the Chinese and the Javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in Lasem. Based on the research, it can be concluded that the exaltation space shows the mythical practice of the Goddess Mazu by the local community, both Chinese and Javanese ethnicities. The mythology of Goddess Mazu, or Mak Co, is the protector of fishermen, sailorman, and common people in Lasem. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.40627 Issue No:Vol. 22, No. 2 (2022)
Authors:Syahrul Syah Sinaga Pages: 392 - 404 Abstract: Bhineka Tunggal Ika reflects national identity, which contains cultural diversity values in Indonesia. Issues of intolerance and globalization often found in Indonesia are the main reasons for instilling children’s character values about diversity through children’s trilingual songs. This study aims to create and develop children’s songs in three languages (trilingual), namely Indonesian, English, and Javanese, as an effort to strengthen children’s character about tolerance and diversity. This research is a type of research and development (R&D) using the ASSURE model by combining qualitative and quantitative methods (mixed method). Data collection was carried out using the method of observation, interviews, and written input on the assessment sheet. Meanwhile, quantitative data is collected through questionnaires and assessment sheets in percentage values from experts and users. The results of the study show that the song “Harmony in Diversity” can be used as an educational medium in educating children to have a global outlook but still love the national language and preserve regional languages. This is because they have studied, expressed, and appreciated songs with trilingual meanings and lyrics. The children’s song “Harmoni dalam Keberagaman” is declared feasible and applicable for learning at the elementary school level. This is evidenced by the data validation results, which show that all indicators, namely song components, language, appearance, audiovisual media engineering, and implementation, get very feasible criteria, with an average score of 89.59%. The aspect that gets the highest score is the display aspect, with a score of 90.48%, and the aspect with the lowest percentage is the visual media design component and the song component, with a score of 87.5%.. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.41585 Issue No:Vol. 22, No. 2 (2022)
Authors:Muhammad Jazuli, Suharji Suharji, Sestri Indah Pebrianti Pages: 405 - 417 Abstract: The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.37181 Issue No:Vol. 22, No. 2 (2022)
Authors:Dhoni Zustiyantoro, Agus Nuryatin, Teguh Supriyanto, Mukh Doyin Pages: 418 - 433 Abstract: This study explores the performance of Ki Manteb Soedarsono’s Dewaruci and Bima characters in it. As a carangan play (contemporary), Dewaruci is the most popular play. The purpose of this study is to describe the elements of Dewaruci puppet performance and how the concept of kasampurnan in Javanese cultural psychology was initiated by Suryomentaram (1892-1962). This is qualitative research with a psychological approach using the method of reading, taking notes, and studying literature. The data in a form of performances and texts were collected from Dewaruci scripts and puppet videos on Kanal Seni Gelar YouTube channel. We combine Dewaruci script with the puppeteer Ki Manteb and other sources, in addition, to conduct a critical analysis to identify kasampurnan life concept that Bima does in this play from Suryomentaram’s perspective. The result of the study shows that the Dewaruci puppet show by Ki Manteb has the advantage of being flexible and able to adapt to the context and needs of the audience. The concept of kasampurnan in Dewaruci as a representation of Javanese culture can be explained from the perspective of Suryomentaram indigenous psychology. This finding contradicts previous psychological analyses in literature and art. Previous psychology research used the theory of Sigmund Freud, C. G. Jung, and Alfred Adler. However, we argue that the theory cannot always explain the cultural context because of cultural differences between theory and objects. Therefore, this research is relevant in the spirit of science decolonization to see humans in Javanese culture according to their context and culture. PubDate: 2022-12-31 DOI: 10.15294/harmonia.v22i2.39209 Issue No:Vol. 22, No. 2 (2022)
Open Access journal
[79 journals]
