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Based on the facts above, Harmonia needs to adjust while enhancing the quality and quantity to be more tangible to facilitate the readers and the authors of the article. The change of journal subtitle originally named Harmonia: Jurnal Pengetahuan dan Pe-mikiran Seni to become Harmonia: Journal of Arts Research and Education, with the entire contents of English articles from Volume 14 Number 1 in 2014 is an effort towards the dissemination of the content of Harmonia articles broadly. A manuscript writing guide is adjusted by using one of the standards of writing in the world of publication, namely the American Psychology Association (APA), though it is not entirely adopted. The addition of subtitles ‘education’ in the name of the journal afirms that the scope of the journal focuses on the content of the article about art studies and education.
Our great appreciation to all the readers, writers and observers of art and art edu-cators who have been supporting the publication of Harmonia. The expectation is that the presence of Harmonia in a new edition can complete the art literature that can con-tribute to the development of the science of art and art education.
Greetings,
Suharto
1
RIJOQ
: VOCAL MUSIC OF DAYAK BENUAQ FROM KUTAI,
EAST KALIMANTAN
Ester*
Agastya Rama Listya**
*Satya Wacana Christian University of Salatiga, Indonesia E-mail: ester_syg@yahoo.co.id
**Satya Wacana Christian University of Salatiga, Indonesia E-mail: agastya123@yahoo.com
Received: June 2013. Accepted: Februari 2014. Published: Maret 2014
Abstract
Rijoq, a Dayak Benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. When and how it was founded, developed and preserved in the Dayak community remains questionable. But according to some research done by scholars,
Rijoq has its origin from Dayak Bawo, a tribe living in the borderlines between Central, South, and East Kalimantan. Rijoq is normally performed during festivities, such as: initiation, reconciliation,
menugal (rice planting) and potong kerbau (buffalo slaughtering). Rijoq’s texts have very deep messages which are considered still relevant to today’s life context. On the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their Creator. The primary concern of doing this research is to preserve Rijoq as written and recorded documents.
So far, this research has been successful in notating and recording ive kinds of Rijoq, that is Peket
Muat Bolupm (working together to build lives), Rijoq Patuk Ajer (advice), Rijoq Natal Tautn Bayuq
(Christmas and New Year), Rijoq Isiq Asekng Sookng Bawe (the expression of a man’s feeling who is falling in love with a woman), and Rijoq Lati Tana Orekng Tepa (forests and lands are disappearing
and gone). But this paper is not intended to discuss these ive kinds of Rijoq. Isiq Asekng Sookng
Bawe is chosen as it is the oldest and the most dificult Rijoq among the rest.
© 2014 Sendratasik FBS UNNES
Keywords:Rijoq; Dayak Benuaq; Bekeleeu
by some physical similarities. Ahmad Yu-nus concludes that Dayak Banuaq origina-ted from the borderlines between Central Sulawesi and Serawak, Malaysia (Yunus, 1992, p. 31). The Ahmad Yunus’ conclusi-on is supported by some similarities found in these two areas, particularly tools used
for cultivating the ield, battling, hunting
the animals, burying the dead bodies, and worshiping the souls of their ancestors.
In their original place, Dayak Be-nuaq was formerly called “Luangan”. Due to geographical situation and the pressure INTRODUCTION
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 1-7
2
brought by an Iban tribe from the Nort-hern area, Dayak Benuaq has been forced to move to East Kalimantan.In their new home place, they called themselves “Be-nuaq”, which possibly came from the word “Benuaqkn”, a name of their new place.
According to their belief, Benuaq is associated with Ningkah or Nyingkah
Oloo, a igure of demigod (Dyson, 2008, p.
16-17). The descendants of Nyingkah Oloo spread from the riverside (close to Sama-rinda, South Kalimantan) to the upper course of Mahakam, a place known as Gu-nung Lipan (Centipede Mountain). On this mountain, Nyingkah Oloo built his home, a place where many poisonous centipedes were living (Dyson, 2008, p. 19-20).
Nyingkah Oloo was married to a Bugis woman, named Dayaang Beliaant. However the name of Tenggarong as the capital of Kutai palace did not come from the Bugis words “tangga arung” (king’s ladder), but from “wakaai engkaruukng” (Benuaq words meaning wooden root that
is frequently used for a ireplace when the
people are working together to build their new city). Benuaq people call Tenggarong with “tengkaruukng”.
Rijoq
Dayak Benuaq sing their songs in the social and the religious events. The texts of these songs are written in the high litera-ry language that only can be understood by the language experts. Every singer who wants to master the texts and the songs used in the religious events should go through a ritual process.
According to Septianus B., Dayak Benuaq’s songs are divided into two, that is sacred and secular. The sacred pieces are in the form of magic formula or sung sto-ry that only can be performed during the religious rites. Some kinds of secular pie-ces are: dodo (sung poetry or fairy tale), de-qug (poetry or fairy tale similar to dodo but sung in the faster tempo), loak (songs used during the kampong thanksgiving cere-mony), lengot (similar to loak but written in different rhythm and notation), and rijoq (a traditional poetry that is sung during
spe-cial or wedding ceremonies).
The History of Rijoq
None of the Rijoq players know when Rijoq was born, but they all are convinced that Rijoq has been passed down from ge-neration to gege-neration for hundreds of years. F. Setianus B., Rijoq is truly convin-ced that Rijoq was originated from Dayak Bawo living in the borderlines between Central, South, and East Kalimantan (now is known as North Barito district). North Barito once was known as a tribe with high
cultures and so much inluenced by Hin
-du. This tribe is well known as the crea-tor of noble literatures, such as metaphors, aphorism, fairy tales, and Rijoq.
According to the mythology, all jo-yful arts including Rijoq have its origin in bekeleu ceremony. This ceremony began with the victory of Tatau Mukng Batuqo-ver the Aput Pererawetn village. After the battle, Tatau Mukng Batuq got a serious illness although beliatn ceremony had been offered. One day, Tatau Mujaaq Tuhaaq, Batuq’s father, had a dream. In his dream, an old man with white hair telling him that Batuq’s illness was a result of nayuq’s and tiger’s curse. The spirit of nayuq and the tiger got mad at Tatau Mukng Batuq for not holding pesengkeet nayuq eremony as a thanksgiving over the victory he had achieved. This old man, then suggested Batuq’s father to hold a bekeleeu ceremony to expel the evil spirits that were sent by nayuq and the tiger (Madrah, 1997, p. 136).
Bekeleeu ceremony has marked the beginning of all joyful Dayak arts, inclu-ding Rijoq. It has become a strong reason why performing Rijoq during the times of sorrow will result in buhotn (struck down by death) (Irwanto, 2010, p. 63).
The Functions of Rijoq
Rijoq is usually performed during
jo-yful ceremonies. It is irst an amusement
for the performers itself, particularly du-ring menugal (sowing the rice seed), buffa-lo slaughtering, or when the women pre-paring the logistic for menugal (Irwanto, 2010, p. 63), or when the women picked up doyo leaves for making ulap doyo (piece of cloth made of leave doyo iber. The making process takes quite a long time because the
ibres should be separated irst from its
leaves before drying and spun). Later, Ri-joq is also sung during the initiation, such as: birth, marriage, expelling calamity (na-litn tautn) and peace ceremonies (nuaak mi-kaat lait). Nalitn tautn is ceremony aims to expel the disaster caused by incest, so that the farmers may harvest rice.
The Lyrics and the Forms of Rijoq
Rijoq is a speech literature—a kind of literature that has been passed down from generation to generation through oral tra-dition, for instance, a traditional poetry— that is sung without any music accompani-ment. Therefore, a Rijoq singer is required to be able to show his/hermusical ability. In this present day, Rijoq is no longer an unaccompanied song, but it has been fur-nished with musical instruments such as: sapeq, guitar, drum set, synthesizer, sulking
(a wooden lute that’s rarely found in the
performances today). Its verse comprises of two couplets with each line ends with a rhyme. Its texts speak about the rela-tionships between human beings and its Creator, human beings with their fellows, and human beings with its nature. At the beginning Rijoq was written in an archaic Benuaq language, but later to adjust to the situation, Rijoq’s texts use modern langu-age.
Rijoq is sung by one singer or two al-ternates. Rijoq has a unique ornament that usually placed on the syllables that are located at the beginning or in the middle, and never in the end of a song phrase. The main feature of Rijoq is the absence of ref-rain. It has a lyrical melody, tempo which is relatively constant throughout the song,
and quite a complicated rhythmic pattern. The skill of the singers will determine the complexities of its Rijoq’s rhythmic pat-tern. In the other word, the more skilful the singer, the more complicated the Rijoq’s rhythmic pattern will be.
Rijoq Isiq Asekng Sookng Bawe (The expres-sion of a man who is falling in love with a woman)
Rijoq Isiq Asekng Sookng Bawe has
three motives (igures 1, 2, and 3) and all
texts are set in the strophic form.
Figure 1. Rhythmic Motive 1 Rijoq Isiq Asekng Sookng Bawe
Figure 2. Rhythmic Motive 2 Rijoq Isiq Asekng Sookng Bawe
Figure 3. Rhythmic Motive 3 Rijoq Isiq Asekng Sookng Bawe
Rijoq Isiq Asekng Sookng Bawe is also decorated with some ornaments which in Western notation similar to acciaccatura,
trill, and slide (igure 4). Isik Asekng
Sook-ng Bawe is considered as an old Rijoq and demands high skills of its performers. This Rijoq is performed without any accompani-ment so singer’s creativity and musicality are required.
Figure 4.Rijoq Isiq Asekng Sookng Bawe’s orna-ments
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 1-7
4
sentence dodoi dinang ayoq sayang which does not have any meaning is added to complement the existing melody. Its texts talk about the love between a man and a woman. This Rijoq may be performed by male and female singers as a responsorial.
The message of this Rijoq: love rela-tionship is a holy one and it is not mere-ly about sexual relationship. Every Dayak person should understand the true
mea-ning of love and should ind his/her part
-ner seriously.
Empit incatn mungih ori
Kakatn mungih manan langit akuq lilikng langit
Dodoi dinang ayo sayang langit akuq lilikng lan-git
Kami kemkepm mungih kami Elokng mungih bungaq kami akuq kemkepm lei kami
Dodoi dinang ayoq sayang kami kemkepm lei kami
Empit incatn mungih ori Oroq mungih manan langit kuq lilikng lei langit
Dodoi dinang ayoq sayang langit akuq lilikng langit
Kami kemkepm mungih kami Ituq mungih bungaq kami akuq kemkepm lei kami
Dodoi dinang ayoq sayang kami akuq kemkepm kami
Empit incatn mungih lewekng
Epuq mungih manan langit akuq lilikng langit
Dodoi dinang ayoq sayang langit akuq lilikng lei langit
Asekng kemkepm mungih asekng Elokng mungih bungaq kami asekng akuq kemkepm lei asekng
Dodoi dinang ayoq sayang asekng
Empit incatn mungih lewekng Oroq mungih manan langit akuq lilikng lei langit
Dodoi dinang ayoq sayang langit akuq lilikng langit
Asekng kemkepm mungih asekng Elokng mungih bungaq kami asekng akuq kemkepm lei asekng
Dodoi dinang ayoq sayang asekng
Ayo butuq mungih umaq
Amen mungin bungaq konaq akug masengkonaq
Dodoi dinang ayoq sayang konaq akuq Masengkonaq
Ruku bere mungih ruku
Ayoq mungih alukng ruku akuq bere lei ruku
Dodoi dinang ayoq sayang akuq bere lei ruku
Ayo botuq mungih suru
Aweq lekaq nyalaq akuq nentakng lei nyalaq
Dodoi dinang ayoq sayang nyalaq akuq nentakng lei nyalaq
Ruku bere mungih ruku
Uhatn mungih olukng ruku akuq bere lei ruku
Dodoi dinang ayoq sayang ruku akuq bere ruku
Meaning:
A sparrow perches on a house post I wish to wander around the sky I wish to wander around the sky Holding hands together
To ind the lowers to hold on To ind a girl to marry
A sparrow perches on a house post To walk far away circling around the sky
To walk far away to all destinations
Holding hands together
That is the lower to hold on
This is the girl that is ready to marry
A sparrow perches on a rice winnow
Have travelled circling around the sky
Have travelled to all destinations Sweetheart
To ind the lower
Sweetheart
To ind a girl, my heart desire
A sparrow perches on a rice Winnow
To walk far away circling around the sky
ventories and to preserve Rijoq as a comp-leted written document.
REFERENCES
Commans, M. (1987). Manusia Dayak Da-hulu, Sekarang, Masa Depan. Jakarta: PT Gramedia.
Dyson, P.L. (2008). Sejarah Sendawar 2. Surabaya: Airlangga University Press.
Irwanto. (2010). Kesenian Rijoq: Fungsi dan Keberadaannya. Thesis. Surakarta: Master’s Degree at Postgraduate Program at Institut Seni Indonesia Surakarta.
Soemargono, K. et al. (1992). Proil Propinsi Republik Indonesia-Kalimantan Timur. Jakarta: Yayasan Bhakti Wawasan Nusantara.
Madrah, T.D. (1997). Tempuutn: Mitos Day-ak Benuaq dan Tujung. JDay-akarta: Puspa Swara.
Yunus, A. (1992). Upacara Tradisional (Upa-cara Kematian) Daerah Kalimantan Timur. Jakarta: Depdikbud.
Interviews:
Interview with F. Setianus B. on June 25, 2009.
Interview with F. Setianus B. on August 8, 2011.
destinations Sweetheart
To ind the lower,
Sweetheart
This is the girl, my heart desire
Sweet potatoes in the ield If the lower agrees
If the lower does not mind
to meet
Could we meet directly? Let us make a promise to meet
Sweet potatoes in the ield that has
been burned
There is nothing wrong
There is no need to feel shy and guilty
to meet
We are about to meet We will meet immediately
CONCLUSION
in-HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 1-7
6
: Appendix
8
THE PHILOSOPHY OF PUPPET CHARACTERS BATHARA
IN MURWAKALA PLAY FOR THE VALUE OF LEADERSHIP
ETHICS
Wahyu Lestari
State University of Semarang, Sekaran Gunungpati, Semarang, Indonesia E-mail: wahyu_pyarlestari@yahoo.co.id
Received: August 2013. Accepted: Februari 2014. Published: Maret 2014
Abstract
The study aims to ind out the values of leadership ethics in Murwakala play. which is beneicial
to society in empowering the existence of the puppet. The position of puppeteers in Central Java is now farther away from the younger generation and society. The preferred method is through
an objective method to ind out the design of performance according to contemporary tastes, as
well as referring to the theory of structuralism in order to uncover the meaning of the textual and contextual performance. Method of observation, interview and documentation are also used, in
order to get comprehensive data. The results showed the indings of the ethics of leadership from
the teachings of puppet plays Murwakala Asthabrata or eight teachings contained in nature into
eight igures in the play, which synergized with the nature of the universe, such as the nature of clouds, rain, water, stars, moon, sun, ire, ocean and earth. The indings are collaborative
performances Murwakala played in the new format, according to contemporary tastes,
semi-theatrical performances. Another inding is souvenirs designs and culinary business run with
team leadership ethics, to enhance the creative industry and economy, establish a relationship
with buyers and afiliated institutions, with a supporting program of stakeholders.
© 2014 Sendratasik FBS UNNES
Keywords: ethical values; leadership, puppets; Bathara; Murwakala. HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 8-15
Available online at http://journal.unnes.ac.id/nju/index.php/harmonia Permalink/DOI http://dx.doi.org/10.15294/harmonia.v14i1.2785
p-ISSN 1411-5115 e-ISSN 2355-3820
generations. But, the reality of the practi-ce indeed reversed, because there are not many people who appreciate the value-of the noble legacy of its ancestors, both the value of ideology, historical values, moral values, as well as other positive values. A
signiicant progress of information techno
-logy and national electronic and mass (7 stations), urban aesthetic standards de-manded spectacle spectacular, glamorous, and slapstick as a joke - an urban setting - have been deliberate or not constitute a pressure into every corner of the country. After exclusion of rural areas served to the audience or the local arts began absorbed by the societies. The audience is reduced again due to two things (l) mass media at-INTRODUCTION
Traditional arts, known as wayang kulit purwa, have been recognized as a world cultural arts, and have been awar-ded a recognition by the United Nations
Educational Scientiic and Cultural Orga
titude and broadcast attitude from big ci-ties which look down on urban local arts - as something backward, and deserve to be laughed at, (2) the attitude of leaders of social and religious art that label the regio-nal arts is not in accordance with religion and moral value. The classical arts are also under pressure, the disappearance aegis of the kingdoms of the past forced the art that grew in the palace looking for new spon-sors from the public, media and art edu-cation institutions funded by the govern-ment.
The theory developed is the aesthe-tics and ethics in the context of understan-ding the values of morality in the puppet (Suseno, 1991, p. 27-45). Of course, the thoughts are based on structural approa-ch that directly intersects with the social system as a multi-cultural situation of the current civilization (Sears, 1996, p. l2l-135). The expected result is the reconstructed product
On puppet show, for example in-volving the maker of puppets, puppet ac-cessories with themes of leadership, and souvenirs. This can not be removed with the handling of management as a model
puppet show production in speciic for
-mats and marketing side (Silalahi, 1994, p. 161).
The Indonesian nation seems to need to overcome the various problems facing the nation today, ranging from political issues, economic, religious, social and cul-tural rights. Everywhere still encountered
various conlicts, such as demonstrations
and vandalism, and massive robbery (Metro TV, August 20, 2010), which caus-ed deaths and serious injuries, blasphemy, also addressed to the leaders of the
count-ry. Citizens ask for justice, and irmness
from the leaders. Natural disasters occur in all parts of Indonesia, which, if observed events appear in 26th, Tsunami, train
colli-sion, until the Mount Merapi erupts, what does it mean? Meaning, 2 plus 6 equals 8 divided by 4 equals two, which could be interpreted heart and thought. Heart and thought must be balanced, cannot stand alone, meaning that what human beings
think about, which is realized in action, must also be internalized by the heart, in order to obtain a balance mentally and physically, and life becomes serene and
peaceful, not to cause lare in surroundings
(Rustono, 2010, November 8, 2010). Natio-nal competitive grant research strategy is
based on six national strategic ields that
had been proclaimed by the President in 2008, and was developed by Direktorat Pen-elitian dan Pengabdian Masyarakat (DP2M) into l2 themes. Themes of Art and Cultu-re / CCultu-reative Industries (Art and CultuCultu-re/ Creative Industry) are one of the selected research themes under the title Understan-ding
Ethical Values Leadership puppet plays Murwakala: Dissemination and Implementation for the Society. The the-me proposed is consistent with what had been determined, because it was oriented in applied research and has a regional / national scale.
The inheritance of cultural values through the presentation of the arts is more directed to oral tradition, the more pressu-re it can be seen in the form of the
deve-lopment of imaginative, relective, and
dramatic, Burns (1973, p. 45-60) called the conventions of art that is attached directly to its form. Inheritance is really a matter that cannot be avoided in the modem era, such as the emergence of show variations that in accordance with the means and the context.
The research begins with literary re-search activities in particular Bathara from Murwakala puppet plays, then applied in
the ield with the condition of the perfor
-ming arts that have been collaborating. Afterward, the design of works of art is ar-ranged in an innovative format according to the demands of the audience, that most-ly the younger generation.
Darnawi (1985, p. 32) points out that these values can be heard through the
wise puppet igures and religious as well
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 8-15
10
life which became the paradigm of era ci-vilization (Timur, 2006, p. 174). The values of tenderness also appear in art, pointed to the tenderness of heart that is embodied in wise behaviour, which is a way of life which guarantees human dignity as the main human beings (Sardjono, 1995, p. 23)
Lestari (2009, i) revealed that ethical
leadership of igure Bathara from Murwa
-kala puppet plays, containing
philosophi-cal values of life exempliied by a variety
of puppet characters in it such as: character of Bathara Teacher, Bathara Endra, Batha-ra Bayu, BathaBatha-ra Yama, BathaBatha-ra Aqni, Bat-hara Kala and Dalang Kandabuwana and puppeteer who each have characters that can be a good model for a leader.
Preserving and responsible to the cultural heritage of ancestors, continu-ally make great efforts in order to make puppets remain to be attracted to the younger generation. Therefore, in order to raise again the values of leadership to do with empowerment of the creative in-dustries of art craft as well as encouraging community economy, research needs to be done by building a theory, and the new
format puppet shows to it the demands of
the present generation.The Empowerment of the puppet masters who their current activity displaced by other forms of per-formance, bravely acting out puppet plays Murwakala. Encouraging the craftsman to collaborate each others in a performance event.
METHOD
The subjects of the research were so-ciety, the puppet masters and souvenirs craftsman. Society as individuals and as leaders should understand and emula-te the characemula-ter of the puppet characemula-ters, who become Asthabrata tenet. The puppe-teers dare to act out Murwakala plays.
The research object is the puppet show plays Murwakala, that the charac-ters in the play are a symbol of leadership character.
The method used is an objective met-hod, namely a way that describes the
re-search as there are materials that are used as objects of research, namely Murwakala puppet plays.
The analysis used is an object of re-search forms. Description: (2) Universe in-cludes elements that affect the community social environment. Its form is the design and accommodation of the performance, namely the ruwatan ceremony with perfor-mance of leather puppet show Murwakala have been collaborating, in order to bring about a new shape or appearance, which involve players or characters that exist wit-hin the play, with the puppeteer and the audience. (2) Consisting of puppet spec-tators, participants of Ruwatan, or guests, arts observer organizations, who is invited to attend the show. (2) Artist or the players, and the characters in the play. (3) Trial Met-hod is used to determine whether the work
result has fulilled the wishes and tastes of
society. The effectiveness of trial method was determined by experts brought in the performance arts, performance arts obser-ver, performance art critics, cultural and arts practitioners of puppetry. The aim is
to explore the input to the reinement and
improvement of the artwork design. (4) ocialization Method, is one way of intro-ducing the product of artwork design to the public, in accordance with the concept that has been implemented, through semi-nars that bring the relevant participants/ stakeholders.
The steps are as follows.
1. Arranging Murwakala puppet play sc-ript.
2. Composing musical singing of puppet show
3. Arranging staging draft, techniques and procedures
4. Exercises
5. Text reading by puppeteer
6. Appreciation of igures
7. Joint exercises between the puppeteer and the musical accompaniment
8. Performance testing 9. Evaluation
10. Preparation of reports including docu-mentation of testing.
been prepared, it needs to do an observati-on both observati-on the locatiobservati-on of the show as well as the players involved in the show. Ob-servations of the location can be conducted either outdoor or indoor.
Trial method is also intended to de-termine whether the work design result has met thewishes of society, such as hold and offer ruwatan ceremony to the public, campuses, or tourismQ place, so there will
be found input or reinement and impro
-vement of artworks in the future.
Interview
Interviews were conducted to the informant such as puppet masters in the Central Java region, with samples taken from puppeteers in Semarang included Ki JokoEdan, and Ki Sayuti, KiSuprapto-no, from Surakarta Ki Suyanto, and from Yogyakarta Ki Timbul Hadi Prayitno. The results of observations were cross checked
with the references as well as indings rela
-ted to literary form, observation and
prac-tice in the ield related to the show.
Documentation
Documentation was recording the action of the Murwakala leather puppet show, and then translated it, both in each scene, as well as the characters within the play. The results of the translation, furt-her interpreted, thus found the values that exist in the show including the characters
in it, like a igure of eight gods. This eight
Gods character then so called HastaBra-tatenet, which is a guidance that can be inspired by everyone in his life, especially in the concept of leadership.
RESULTS AND DISCUSSION
The Design form of Murwakala Plays Designing the puppet show is not making it up that the puppet is still a mainstay in the delivery of a certain ma-terial, expectedly to contribute to the ge-neral public about various things related to contemporary problems or issues of government programs and the wishes or expectations of massive societies. The
ot-her interests are giving the improvement of appreciation to the audience about the art of leather puppet Purwa which also conveyed the content of the moral values of leadership represented by the presence of puppet characters who play in Murwa-kala, so that people can take lessons from the show, which be able to apply in daily life in the future.
The design objective is to create an alternative leather puppet show that is called Murwakala along with other buffer. The result of designing performance be-comes a means of enlightenment, educati-on, and entertainment that focuses on the universal problems encountered in daily life. Without having to leave the grip of puppet show, the show was designed in collaboration with other art forms outside of the art of puppetry. Not excluding it will be included also all the sporting programs tailored to the unity of the whole chosen themes, so it is possible to involve the ot-her types of arts.
The design is as follows:
1. The form of the puppet is leather
puppet carved in a simple lat
2. The characters involved in a puppet show Murwakala
3. The use of Javanese Gamelan with spe-cial arrangement as musical accom-paniment in the show
4. At the end of the design is the presen-tation of the textbook which is ready to be staged by any puppeteer who is interested.
Procedures of Design
In this section the activities started by designing a variety of devices that have been planned to include:
The irst stage
1. Plotting particular puppet character
played by human igures such as Kala Bathara igures, Derma Derma and
UlamDermi, as well as JokoJatusmati
igures, and the igures of puppeteer
Kanda Buwana, provided approxima-tely l0 puppets.
sta-HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 8-15
12
an authoritative igure of the leader in a community, and simple igures
that can be played by another player who has been plotted or spontaneous players from the spectators.
4. Bathara Guru should go directly to the world to give examples of his leader-ship to people about how to dispel the existence of Kala.
5. The eight Gods, which in Javanese cul-ture symbolized as so-called Asthabra-ta tenet (8 behavior) eight characters that can be inspired by people, from the eight Gods’ characters, which la-ter, the element of number 8 (eight) synergized with eight elements of na-ture characters, including the nana-ture of
water, ire, wind, moon, stars, oceans,
clouds and sun, from the eight natural properties can be used as the teaching of leadership to the community, lea-dership inspired from nature could be a guidance for a good life. The presen-ce of Bathara Guru nepresen-cessarily has to work hard to give enlightenment to the human the ways of dealing with problems of daily life. Of course, the desire of evil Bathara Kala, will take all Sukerta’s children will run smooth-ly because of the existence of Bathara
Kala, through this igure of Kandha
-buwana puppeteer, the secret of the existence of Kala can be undermined by human beings. All elements of the Murwakala story plays is applied to the show structure combined with the form of arts outside the art of puppet-ry. The stage arrangement of Murwa-kala puppet plays can be seen in the scheme as follows.
Ethical Dimension of Murwakala Puppet Play
The results of study shows there were value of leadership ethics in Murwa-kala puppet plays, which emerged from the eight characters in the play. The
rese-arch indings are also supported by the Su
-tarno opinion (2006, p. 50-119).
The inding that strengthens the eight
God’s characters synergized with the con-ged completely. The collaboration
bet-ween the puppeteer who plays shadow puppet and dialogue with Murwakala played by the people.
3. Arranging music to accompany the show
4. Technique plan of puppet plays stage
with Murwakala as the main igure
5. Socialized to the public, students, aca-demics and the puppet masters and ar-tists, the activity is assumed as Legen Tuesday night activity in UNNES, and had been held on November 8th, 2010.
The Second Stage
1. The main igure of the stage basical
-ly contains the main idea that must
be delivered through the igure’s trip,
groups, and community. Then it is poured into the plot and scenes in the overall play. The basic idea of the Mur-wakala puppet play stage is like to give enlightenment and public information about the existence of the character, in Javanese culture, Bathara Kala is a symbol of catastrophe and misfortu-ne spreader. Up with the 21st century,
such play related to sacred ceremonies are still performed, either in massive or individually.
2. The central themes of Murwakala puppet plays, is a comprehensive un-derstanding of the existence of Bathara Kala as a symbol of catastrophe that should be avoided by people. The
spi-ritual value contained in the igure is a
puppet of enlightenment for the audi-ence, as well as the concepts of leader-ship, such as how a person should be able to hold the promise that has been uttered, loyalty to the job.
3. Then the theme of leadership is poured into the structure of the presentation of puppet plays, so the source of the presentation based on the convention of Purwa shadow puppetry as can be found in the community. Furthermore, step by step, the story of Bathara Kala
low to the daily story by presenting
public igures, such as community lea
dition of the natural character that must be watched out and understood by the public. The value of leadership ethics can also be found from the Murwakala puppet play, one meaning of words can be seen is Murwa that means managing and Kala means time, so Murwakala mean show to respect the time, the respect of time is one key to success. Another key to success is if people could be disciplined, discipline starts from leading to himself and conti-nue to lead on a wider scale. The tenet of leadership can be explored through the
puppet igures, which over the puppet
characters, we would know its nature and character, which can be a good model in daily life. One of the tenets of Javanese cul-ture is called Asthabrata which is an ethics code of leadership, since the previous time till now, even when the future still remains
relevant to be learned and applied, and ob-served by anyone, who wants to have the soul of leadership, though he is not as a formal leader in an institution. Every indi-vidual is essentially a leader for himself/ herself.
Astabrata tenet is not only learned through written literature, but also through art performance. In the art performance/ show, the tenet is shown from the symbolic
igures with leadership character. Leader
-ship character is assembled from the eight gods’ character that is as representative of natural objects’ character
The lead character refers to the eight Gods’ character such as: the Endra God, the Surya God, the Bayu God, the Kuwe-ra God, the Baruna God, the Yama God, the Chandra God and the Brama God. The eighth character of the God is also
synchro-Notes:
1. Puppet box 2. Puppet box lid
3. Kendhang batangan, ciblon and bem
4. Gender slendro pelog 5. Slentem slendro pelog 6. Finder
7. Sither 8. Sither
9. Kenong slendro pelog 10. Demung I
11. Demung II 12. Saron I 13. Saron II 14. Peking
15. Bonang Barung and Penerus, Slendo pelog 16. Gong
= Puppet Master
= Waranggana
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 8-15
14
nized or in line with the character of natu-ral objects such as: the nature of the earth,
water or ocean, ire, wind, sun, moon,
stars, and cloud. According to communi-ty development, the nature or eight-Gods’
character that at irst became the leader’s
characteristic only has been developed in general guidance for all people without any exception, is that one should be able to become the sun, capable as the moon, a star, the earth, water, could be a tree, could become wind, and capable of being cloud for others. The consequence is that if any of those characters are not owned, it will be handicapped for human.
The discussion of puppet show de-sign is not making it up that puppet is still a mainstay in the delivery of a certain ma-terial, with the hope to contribute to the general public about various things rela-ted to contemporary problems or issues of government programs as well as the wis-hes and expectations of the larger society. Other interests are enhancing audience’s appreciation to the art of shadow/leather puppet which conveys the message of lea-dership moral values represented by the presence of puppet characters that play in Murwakala, so that people can take les-sons from the show which can be applied in daily life.
CONCLUSION
The creation and design of Bathara from Murwakala puppet plays, the setting
of the main igure tells about the events
and issues of daily life. Reminding that the art of puppet show has a standard or reference, then the system in presenting
Murwakala as the main igure cannot be
abandoned. This means that elements such as puppet show setting, gamelan, singing,
and main igure structures become a very
important consideration.
The story of puppet play can be a me-ans for the puppeteer to convey thoughts, feelings and responses of an event that happened in the real world. For example, most of the puppeteer has to do, namely as an aspiration for development, so that
through the characters of puppet show, puppeteer addresses the issue of family planning, building construction, religi-on, advances in technology and ethics or aesthetics, according to his abilities and mastermind’s creation. Frequently, also various nuisance of environment is ma-nifested into Dolanan song, dialogue bet-ween characters, without bothering the puppet story structure presented.
The theme design of Murwakala sto-ry revolves around the events and issues of everyday life. Given the art of puppet show has a grip, then the system plays Murwakala presentation cannot be aban-doned. This means that elements such as setting buffer in the show of puppets, ga-melan, singing, and structures play a very important consideration.
The design of the Murwakala puppet play show is unlike traditional stage sets, this was done because the concept of the show was collaborated with other art forms, then the consideration of place and space arrangement of the stage is adju-sted with the aim of the show. Two barrel Slendro and Pelog of gamelan divided into two parts arranged in a row, right behind the puppeteer provided a space for theat-rical scenes, so that the arrangement requi-res more space than a traditional stage.
The Asthabrata tenet is not only learned through written literature, but also through the art performance show. In the show, the tenet is presented from symbolic
igures with the lead character. It refers to
the eight gods’ characters that constitute the eight characters of natural objects.
REFERENCES
Bidney, D. (1967). “Myth, Symbolism and Truth”. Thomas Seboek (Ed.), Myth Simposium. Blomington and London: Indiana University Press.
Cassirrer, E. (1965). An Essay on Man, An Introduction to a Philosophy of Human Culture. New York: New Haven. Kanthi, W. (1995). Wayang Kulit as Medium
Soeto-mo, Surabaya.
Kasidi. (1998). Inovasi dan Transformasi Wayang Kulit. Yogyakarta: Institute for Javanese Study
________. (2004). Teori Estetika Untuk Seni Pedalangan. ISI Yogyakarta: Lembaga Penelitian ISI Yogyakarta.
Kayam, U. (2001). Kelir Tanpa Batas. Yogya-karta: Gama Media.
Kuntowijoyo. (1986). Budaya dan Masyara-kat. Yogyakarta: Tiara Wacana.
Lestari, W. (2009). Seni Pembebasan: Es-tetika sebagai Media Penyadaran. Harmonia: Jurnal Pengetahuan dan Pe-mikiran Seni. 9 (1).
_______. (2009). Masalah Pengembangan Seni dan Industri Seni melalui Pendi-dikan Seni. Semarang: Cipta Prima Nusantara.
_______. (2009). Kepemimpinan Etis dalam Lakon Wayang Murwakala bagi Pemberdayaan Industri Kreatif sebagai Salah Satu Peningkatan Eko-nomi Kerakyatan, research report.
Unpublish. Jakarta: DP2M Jakarta. Lorens, B. (1996). Kamus Filsafat, Jakarta:
Gramedia Pustaka Utama.
Magnis-Suseno, F. (1987). Etika Dasar: Ma-salah-masalah Pokok Filsafat Moral. Yo-gyakarta: Kanisius.
_______. (1991). Wayang dan Panggilan Ma-nusia, Jakarta: Gramedia Pustaka Utama.
_______. (1993). Etika Jawa, Jakarta: Grame-dia.
_______. (1993). Etika Jawa Sebuah Analisa
Falsai tentang Kebjaksanaan Hidiqa
Jawa, Jakarta: Gramedia Pustaka Utama.
Sajid, R.M. (1971). Bauwarna Wajang jilid 1. Surakarta: Penerbit Widia Duta. Scheller, M. (1973). Formalism in Ethics and
Non—Formal Ethics Values, Eramston: Northwestern University Press. Suratno, P. (2006). Sang Pemimpin, menurut
16
SIGNIFICANT INFLUENCES OF VIOLIN EXTRACURRICULAR
ACHIEVEMENT TO EMOTIONAL INTELLIGENCE
Naik Salaiyah
Student of Postgraduate Program of Gajahmada University, Indonesia Jln. Bulaksumur Yogyakarta
E-mail: naik.salaiyah@yahoo.co.id
Received: July 2013. Accepted: Februari 2014. Published: Maret 2014
Abstract
This research aims to ind out (1) whether there is an inluence between student’s achievements
of learning violin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achievement of learning violin to their emotional intelligence. It is
a qualitative research which is deined as a research method based on positivism philosophy
which is used to study particular sample and population. The sample and population are drawn randomly using research instruments to collect data, and the data are analyzed statistically. This
aims to examine the hypothesis deined. The inding shows that there is a signiicant inluence
between student’s achievement of learning violin and their emotional intelligence about 76.1%,
while the rest of it 23.9% is inluenced by other factors which are not studied in this research. It proves that learning violin inluences student’s emotional intelligence very much and emotional intelligence is inluential in increasing student’s achievement. From the data, it shows that most of
the students participating in violin extracurricular are able to increase their learning achievement.
© 2014 Sendratasik FBS UNNES
Keywords: achievement; violin; emotional intelligence HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 16-21 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia Permalink/DOI http://dx.doi.org/10.15294/harmonia.v14i1.2786
p-ISSN 1411-5115 e-ISSN 2355-3820
Music can be affected in an academic ield
through the forming of learning pattern, overcoming bored, avoiding a disturbing-external-noise. In addition, music makes
us feel powerful, conident, reduce sor
-row, erase anger, relieve stress, and reduce fear and worry. Music should introduce in the very beginning so it is able to stimuli a music genre that can develop the students’ intelligence, it is classical music which is played by using violin at extracurricular program.
The skills of reading a violin notation can improve the students’ understanding in terms of training their emotional intelli-gence. In practical, reading music notation means that the students have already had their loved-song-bank. Besides, they have INTRODUCTION
One of the government’s efforts to educate the nations is by education. Edu-cation plays an important role to guaran-tee long life of the nation and the country. The constitutional foundation of education has been clearly stated in the Preamble of the 1945 Constitution of the Republic of In-donesia that one of the main goals of the Republic is to establish intelligent life of the nation. Thus, education is an effort to improve and develop the quality of human resources.
Music is important because it is a good thing, music is a part of life and one
of human culture magniicent, by develo
to understand music elements that have been discussed through music theory, have sense and a strong enough rhythm. The students are able to read the rhythm pattern in the notation in which using mu-sic notation, and also they have to have a strong imagination of the tone, so that they can play the song with its tone, notation, and appropriate melody.
Some skills above can be gained to train the students’ emotional intelligence by playing or using the learning aids in a music extracurricular program at school, as the instrument is a violin because the students are easier to feel the song so the result will be better. In fact, while having a violin extracurricular program, the time is limited. In contrary, in learning violin through reading the notation needs a the-oretical understanding about music notati-on. For the time is limited so the students are supposed to study it at home to train their intelligence.
Learning will result some changes in
a person. To ind out how far the changes
are there must be an assessment. This kind of assessment to measure how far their achievement of learning is, called the re-sult of learning.
Learning process at school is one of complex and whole process. Many people argue that to get the highest achievement in terms of education, people should have high Intelligence Quotient (IQ), that in-telligence question (IQ) is a potential that will help the students to gain the optimal result. Winkel (1997) stated that the nature
ointelligence is the ability to state and de
-fend one aim, to a just in terms of gaining the goal, and to do a self assessment criti-cally and objectively.
In fact, in teaching-learning process
at school we often ind many students
who could gain their achievement as equal as their intelligence. Some students have a high intelligence but on the other hand their achievement is relatively low. In contrary, there are some students who have relatively low intelligence but could achieve good achievements. Grade of in-telligence is not the only factor that
deter-mines a successful person. There are other factors that determine the case. Goleman (2002) argued, someone’s intelligence (IQ) only represents 20% of his/ her success, while the other 80% are presented by other factors such as, EQ. Emotional Quotient (EQ) is the ability to motivate his/ her-self, overcome frustration, control a desire, control mood, and the ability to cooperate with others.
An IQ learning process could not function well without any participation of the emotional sensestoward the lesson that is delivered. However, those two in-telligences will complete each other. The balance of IQ and EQ are the students’ successful key at school (Goleman, 2002). Education at school not only need to deve-lop rational intelligence, in which a model that is usually understood by students, but also emotional intelligence of the students. The result of some researches in University of Vermont about analysis of the human brain neurology structure and behaviourshow that in a very important
event in people’s life, EQ will come irst
before rational intelligence. A good EQ can determine individual success in academic achievement to build a carrier, develop a harmonious relationship between hus-band and wife, and to reduce an aggressi-ve attitude of teenagers (Goleman, 2002).
It is undeniable fact that for those who have low IQ and mental
backward-ness will be dificult, even they cannot fol
-low their formal education for their age. However, in fact, a few people with high IQ has low educational achievement and vice versa.
The occurrence of the term emotional intelligence in education, for most people
perhaps can be deined as the answer of
the gaffe. Daniel Goleman according to his
book deined a new deinition of intelligen
-ce. Although EQ is relatively a new thing compare to IQ, but some researches indica-ted that emotional question is also impor-tant to compare to IQ (Goleman, 2002).
ap-HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 16-21
18
propriateness of emotion and its expressi-on through skills, self realizatiexpressi-on, self cexpressi-ont- cont-rol, self motivation, empathy, and social skills.
Goleman (2002) stated that especial-ly for those who have high intelligences, they tend to be worry without any reason, too critical, fussy, introvert, and hard to express annoyance and anger appropriate-ly. If it is supported by a low emotional intelligence, so those people tend to be troublemakers. Parallel with the charac-teristics above so they tend to be seen as a hard person, unadaptable, insensitive with
surrounding, dificult to trust anyone else,
and tend to easily to give up if get stressed. In contrary to those who have a high IQ, those who have average IQ but have high intelligence.
Walgito (1993) divided some factors
that inluence the emotional intelligen
-ce, those are: (1) internal factor, is a
fac-tor within the individual that inluences
the emotional intelligence. This internal factory has two sources, physically and psychologically. In terms of physics, it means that physical factor and individual health. If someone’s physic and
psycholo-gy are disturbed, perhaps it can inluence
his/ her emotional intelligence. Moreover, in terms of psychology, it consists of expe-rience, feeling, senses, thinking ability and motivation. (2) External factor including: (a) stimuli itself, the stimuli saturation is
a factor that inluences the success of so -meone in organizing his/ her intelligen-ce without distortion. (b) Environment or situation especially the one that becomes the background of the emotional intelli-gence process. Environmental object as the background of the situation is a unity that cannot be separated.
A school that held an orchestra extr-acurricular is SMP Domenico Savio, Sema-rang, so the researcher directly visited the school to make sure the news. In fact, it is true that at the school is held an orchestra program. Instruments that are played are violin, cello, piano, and classical guitar. The teaching-learning process is divided into different rooms depends on the instrument
used. However, even though the activities are held in different rooms, the material given is similar, with the same song title, that has been arranged before based on the agreement of the couches. At a particular time, they will play the instruments toget-her. In this case, the researcher was very interested in the teaching-learning process of the orchestra extracurricular program in SMP Domenico Savio Semarang especially the violin.
Trine (2007) stated that the result of the learning process is an attitude that is gained by the learner after having the learning process. The gained of the aspect depends on what they learn. Thus, when the learner learned about the concept, the change of attitude gained is the mastery of the concept. In terms of the learning pro-cess, the change of learner’s attitude that should be gained after having the learning activity can be formulated as the goal of learning. The formulation of learning aim is the result that is wanted by the learner, and it is rather complicated compare to the others aim because the aim of learning pro-cess cannot be measured directly. The aim of the learning process is a form of hope that is communicated through statement by showing the changes that is wanted by
the learners after inishing the experience
of learning.
What is meant by the result of lear-ning the violin is a result of maximum ef-fort in learning violin so that the learner gain a change from the phase that the lear-ner cannot play the violin into the phase that the learner can play the violin. It can be measured by using some indicators in-cluding reading rhythm and melody.
ap-preciation, limited time and the program to hold the show, needs a proper solution by holding the extracurricular program, and aim to develop and settle the students’ knowledge especially in a talent develop-ment, interest and skill to create art work, and having the characteristics of consisting the material given before.
This research aims to ind out (1)
whether there is an inluence between
student’s achievements of learning vio-lin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achie-vement of learning violin to their emotio-nal intelligence.
The result of the research is hoped to give contribution to (1) teacher by hel-ping to improve the quality of the school and can be used as the reference for the te-achers who need it, (2) students by giving motivation to participate in an extracurri-cular activity and students are supposed to increase their motivation and learning achievement, (3) can be used as a medium for the school to improve the knowledge
of the violin inluence toward students’ in
-telligence.
The result of learning violin is nee-ded to achieve emotional intelligence opti-mally. If someone is seriously and optimal-ly learn a violin so he/ she probaboptimal-ly has an optimal emotional intelligence. Many the-ories have been argued by specialist about emotional intelligence, it can be assumed that there is a correlation, relation, and contribution of extracurricular learning re-sult of violin toward students’ emotional intelligence.
METHOD
Quantitative method can be deined
as a research method that is based on po-sitivism, used to examine toward a popu-lation or certain samples. According to the aim of the research, this research is a cor-relation research which means a research
that aim to ind out the relation among va
-riables that are examined (Arikunto, 2006).
Correlational research is aimed to ind out
the explanation of a problem. In this
re-search, the aim is to ind the inluence of
extracurricular activity of learning violin toward students’ emotional question in Ju-nior High School (SMP) Domenico Savio, Semarang.
The collection of the data was done by using: (1) questionnaire technique. The questionnaire is sets of written questions used to gain information from the respon-dents in terms of their private life or their common knowledge (Arikunto, 2006). In this research, the researcher used Likert scale as the emotional intelligence. This emotional intelligence consists of an aspect of self emotional realization, self motivati-on, empathy, cooperation (Goleman, 2002) that are useful to measure how far is the emotional intelligence that is understood by the students of SMP Dominico Savio, Semarang. (2) The test method is questi-oned or rehearsal or another way used to measure the skills, intelligence, individual talent or group (Arikunto 2006). That test method is in the form practical tests that
are used to ind out the ability of the stu
-dents who join an extracurricular program of violin instrument in SMP Domenico Sa-vio, Semarang in terms of their mastery of violin instrument.
The analysis used to ind out the so
-lution is divided into two, (1) regression analysis, (2) correlation analysis, and (3) determination analysis. The analysis used is by using percentage descriptive analy-sis and simple regression analyanaly-sis.
RESULTS AND DISCUSSION
The correlation between learning violin and emotional intelligence
Based on the analysis, the early hy-pothesis stated as “there is a correlation between learning violin and emotional in-telligence” is accepted. Thus, by accepting the hypothesis it can be inferred that there
is a signiicant correlation, it means that
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 16-21
20
ricular activity and emotional intelligence of violin in SMP Domenico Savio Sema-rang. According to the research analysis that Y = 62.852+1.052X1 means that the re-sult of learning (X) increases one point, so the emotional intelligence of the students who learn violin in SMP Domenico Savio Semarang will also increase (1.052) and vice versa. If the result of learning is lower one point, so the emotional intelligence of the students who learn violin in SMP Do-menico Savio Semarang will also decrease (1.052). The other 39% factors are the
fac-tors that inluence the result of learning
violin. Those factors based on physical and physiological aspect. Physical aspect is an
aspect that is inluenced by body health of
the individual. If someone’s physical and soundness are disturbed, perhaps it can
in-luence the emotional process. Psychologi
-cal aspect consists of experiences, feeling, ability to think, motivation, and environ-mental factor. Thus, the researcher invites the reader to do other research relates to those factors.
CONCLUSION
According to the result of the re-search and the discussion above, it can be
conclude that: (1) there is a signiicance in
-luence between the result of violin extra
-curricular and tje students’ emotinal intel-ligence in SMP Domenico Savio Semarang,
(2) there is a signiicance relation between
violin extracurricular and the students’ emotinal intelligence in SMP Domenico Savio Semarang, and (3) the contribution given by the result of violin extracurricular toward students’emotional intelligence in SMP Domenico Savio Semarang is 76.1%
and the rest 23.9% is inluenced by another
factors that are not taken into account in this research
It can be proven that learning a
vio-lin is very iportant in giving an inluence
toward emotional intelligence and it is
verry important in giving inluence in in
-creasing students’ achievement. By those evidences, the researcher suggests that al-most of the students are supposed to par-Domenico Savio, Semarang.
The signiicant inluence of learning vio -lin toward emotional intelligence
Referring to the analysis above, from the calculation it can be seen that Y = 62.852 + 1.052X which means if a variable of vio-lin extracurricular program in SMP Dome-nico Savio Semarang is higher one point so the students’ emotional intelligence who learn violin in SMP Domenico Savio Sema-rang will be higher 1.052 point in constant point of 62.852. It shows that the increase
of learning violin will give inluence of the
increase of emotional intelligence. Hence,
learning violin can inluence to emotional
intelligence.
Contribution of learning violin toward emotional
Based on the analysis, it presents that
the determination coeficient (r2 ) is equal
76,1%, which means that the emotional in-telligence is equal 76.1% that is determined by the result of learning violin, and the rest is determined by another factor that is not
directly inluenced to the research.
Emotional intelligence can be inc-reased by developing a high commitment of self development. Emotional intelligen-ce is a psychological ability in understan-ding and using emotional information. As an individual, we have a different ability in doing something since we were born and we can learn from our life the ways to make our emotional intelligence be better through practices and experiences. Howe-ver, the variable of violin extracurricular in SMP Domenico Savio Semarang gives
signiicance inluence toward the students’
emotional intelligence that clearly can be seen from the data analysis tcount> ttable equal (7.579>2.00), and the simultaneous-ly contribution from variable of violin ex-tracurricular 7.61% in which it shows that violin extracurricular in SMP Domenico
Savio Semarang has inluence on students
learning activity as many as 76.1%.
Based on regression coeficient that
extracur-ticipate in violin extracurricular to develop their achievement in terms of academic. To gain the best result, the researcher sug-gests: (1) teacher should give motivation to the students who join and participate in violin extracurricular, (2) teacher should give reward for those who have high ac-hievements in the extracurricular activity, (3) school should hold a home concert so it will be easier to attract other students to participate in a violin extracurricular. Hence, by these activities can produce the students with good achievement.
REFERENCES
Amstrong, T. (1993). 7 Kinds of Smart: Iden-tifying and Developing your Intelligenc-es. New York : Penguin Group. Amstrong, T. (1996). MI in the classroom.
Virginia: Association for Supervi-sion and Curriculum Development. Arikunto, S. (2006). Prosedur Penelitian:
Suatu Pendekatan Praktik. Jakarta: Rineka Cipta.
Campbell, L., Campbell, B., &
Dickin-son, D. (1996). Teachingand Learning through Intellegences. Massachusetts: Allyn and Bacon.
Chaplin, J.P. (2005). Kamus Lengkap Psikolo-gi. New York: Dell Publishing Co. Gardner, H. (1993). Multiple Intelligences
Translated: The Theory into Practice A Reader. New York: Basic books. Goleman, D. (2002). Emotional Intelligence
Translated. Jakarta: PT Gramedia Pustaka Utama.
Last, J. (1980). Interpretation in Piano Study. New York: Oxford University Press.
Musiroh, T. (2008). Cerdas melalui Bermain.
Jakarta: PT. Grasindo.
Soewito. (1999). Teknik Termudah Mengge-sek Biola. Jakarta: Titik Terang. Sugiyono. (2010). Metode Penelitian
Pendi-dikan. Bandung: Alfabeta.
Supratiknya, A. (2005). Psikologi Musik. Yo-gyakarta: Buku Baik.
Triani, C. (2007). Psikologi Belajar. Sema-rang: UPT MKK UNNES.
22
DEVELOPED MUSIC TEACHING KIT OF
PAKEM
FOR ELEMENTARY SCHOOL MUSIC LEARNING
Yoyok Yermiandhoko
State University of Surabaya, Indonesia Jl. Ketintang Surabaya Indonesia 60231
E-mail: yock.pgsd@yahoo.com
Received: December 2013. Accepted: Februari 2014. Published: Maret 2014
Abstract
The objective of the research was to: (1) construct a model and develop a music teaching kit of
PAKEM which were appropriately applied to the music teaching learning process in the third grade of elementary schools; (2) describe the level of conceptual feasibility; (3) describe the level of operational feasibility; and (4) describe the level of effectiveness of the music teaching kit of
PAKEM developed. This research uses eight steps of development which is the modiication of 10
steps of Borg & Galldevelopment research. The data to be analyzed included (1) the observation data of teachers and students; (2) the survey form for teachers and students; (3) the students’ learning result of music class; and (4) the result of students’ performance of musical ability. The results of development research indicated that the music teaching kit developed: (1) can be used
by teachers without encountering dificulties; (2) can last eliminating dificulties and limitations
in conducting music teacher learning process; (3) is able to engage students actively; (4) is capable of motivating students to enjoy learning music; and (5) is able to improve the results of music learning in theory and practice.
© 2014 Sendratasik FBS UNNES
Keywords: development; teaching kit; music art; PAKEM
HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 22-27 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia Permalink/DOI http://dx.doi.org/10.15294/harmonia.v14i1.2787
p-ISSN 1411-5115 e-ISSN 2355-3820
des, inelementary school age (6 to 13 years) children are in the stage of imaginationde-velopment, involving in living up, inter-preting, and appreciatingworks of art, so the impact of these activities of apprecia-tion is very positive in shaping children’s behavior and mental character.
Some research results and opinions of the experts stated that the positive effect of music and art is important to education and children’s development. Jazuli (2008, p. 4) stated that practicing or playing music will contribute positively towards academic ability. Even in the current stu-dy, children who learn piano have spatial temporal reasoning about 30% better than the children who learn computer. It can be found some opinionsin the summary INTRODUCTION
As stated in government regulation of national standards of education to mentary school level, the charge in
ele-mentary subjects covering ive groups of
subjects: (1) religion and morals; (2) civics and personality; (3) science and technolo-gy; (4) aesthetics; and (5) physical educa-tion, sports and health. From those groups
of subjects it appears that the ield of ae
-sthetics (art and cultural studies) gained
no difference from other ields, since the
Besi-of the Bulletin Besi-of the Council for Research in Music Education that (1) music or art education will facilitate the development of children in the language and the speed of reading; (2) a musical or artistic activi-ty is highly valued for children experience in appreciation and expression; (3) art or music activities will help children in their development of positive attitudes towards school and reduce the rate of absence at school; (4) the involvement in art or music activities directly enhances the develop-ment of creativity; (5) a music or art edu-cation eases the social development, self adjustment, and intellectual development.
The results of the study show that art musicis crucial to be given to children mainly at the level of basic education. Ho-wever, the phenomenon occuring in our country is thatart subject particularly mu-sic in elementary schools has not perfomed well yet, though the government has de-signed art and culture curriculum. Particu-larly in music, it can be seen from the low level of students’ understanding about the basics of music theory, low competence of students in singing and playing music, and the teaching learning process that is less in accordance with the requirements of the standards of competence and basic competence (SK-KD). From several visits and mentoring by the researchers and PGSD Unesa team towardssome elementa-ry school teachers in East Java (mentoring activities in schools), are always available to three problems of art education especi-ally music as aforesaid. Even the reality in
the ield is also found: (1) teacher’s lack of
understanding about the basics of music theory, (2) teacher’s lack of competence in performing the music teaching learning process, and (3) less support from the lea-der or the staff of educational department in improving the competence of music te-achers, unlike the subjects of math, scien-ce, social scienscien-ce, civics, and Indonesian language. From the results of discussions with the teachers of elementary school, it is revealed that the main factor of the low quality of performing music teachingis mainly because teachers feel inadequate,
not talented, and dificult in designing and
performingthe music teaching learning material well.
These issues formed the basis of thought to develop a teaching kit that can assist teachers in carrying out the music learning in elementary schools. Further-more the teaching kit is expected to lead to impact toward the increase of students’ achievements inmusic learning in elemen-tary schools. This research will be focused on the design of teachingkitwhich is ap-propriate to music learning in elementary schools, as well as how the level of concep-tual, operational feasibility, and effective-ness.
The teaching kitproducedis all com-ponents that are used by teachers in their teaching learning process. The component in the study includes the learning scenarios in the syllabus, lesson plan (RPP), teaching media, media usage instructions, students’ worksheets (LKS), and evaluation.
