Sembadra, Journal of Arts and Education Studies 2021-05-01T11:45:02+07:00 Dr. I Nengah Mariasa, M.Hum Open Journal Systems <p>Sembadra: Journal of Arts and Education Studies (Sembadra-JAES) is published by the Arts Education Center of Excellence, Directorate of Center of Excellence in Arts and Culture, Universitas Negeri Surabaya. Sembadra-JAES publishes articles in the fields of arts, arts education, social and humanities in the form of empirical studies, literature review, and critical reflections. All articles must be written in English to be considered for publication. </p> <p><strong><br /><em><a title="Sembadra" href="" target="_blank" rel="noopener">Sembadra : Journal of Arts and Education Studies</a></em>,</strong> <a title="ISSN" href="" target="_blank" rel="noopener">ISSN 2716-5043</a> (Media Online), published twice a year, in April and November.</p> <p>Please check the Author Guidelines and sent your manuscript <a href="" target="_blank" rel="noopener">HERE</a></p> <p>Please Download Template <a href="" target="_blank" rel="noopener">HERE</a></p> <p>Please check Online Submission <a href="" target="_blank" rel="noopener">HERE</a></p> <p>Already have a Username/Password for <strong>Sembadra : Journal of Arts and Education</strong> <strong>Studies</strong>?<br />Go to <a href="" target="_blank" rel="noopener">Login</a></p> <p>Need a Username/Password for <strong>Sembadra : Journal of Arts and Education Studies</strong><br />Go to <a href="" target="_blank" rel="noopener">Registration</a></p> <p>DONATION Click <a href="" target="_blank" rel="noopener">HERE </a>or <a href="" target="_blank" rel="noopener">HERE</a></p> GETAK MASK DANCE IN PAMEKASAN MADURA AS A MANIFESTATION OF PRABU BALADEWA FIGURE 2021-05-01T11:45:02+07:00 Eko Wahyuni Rahayu <p>Getak mask dance is one of traditional dances from Pamekasan, Madura. This dance depicts the bravery of a knight who is wandering and has a patriot spirit. This article aims to identify and record the existence of Getak Mask Dance both textually and contextually. It is because the existence of this dance has started to fade. Therefore, it is necessary to immediately record as an effort to preserve. Historically, the existence of Getak Mask Dance is closely related to the performance of œdramatari topeng dhalang Madura which is based on Mahabharata story. It is then developed to a part of Ludruk Sandur performance. Gethak Mask Dance is a manifestation of Balarama figure; a king in Madura Kingdom. Balarama is a character in wayang performance who is highly respected by Madurese people and considered as their ancestor. Textually, the choreography of Getak Mask Dance is in the form of a male single dance, he uses white mask and has a strong character. The dance movement pattern is very distinctive, supported by the sound of Kendang or drum which sounds œGe and œTak and the use of handkerchief property as a symbol of weapon.</p><em></em><strong><em>Keywords: Getak Mask Dance, Pamekasan, manifestation, Baladewa figure</em></strong> 2021-04-30T00:00:00+07:00 Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies RITUAL AESTHETICS OF ACI SANG HYANG GRODOG CEREMONY IN LEMBONGAN KLUNGKUNG VILLAGE, BALI 2021-05-01T11:45:01+07:00 I Gede Yuda Pramada I Nengah Mariasa <p class="Body">This study aims to determine the aesthetic meaning of the <em>Sanghyang Grodog</em> ritual in Lembongan Village, Klungkung Bali, which has its own and unique characteristics, different from other <em>Sanghyang</em> in Bali. The uniqueness and number of dances in <em>Sanghyang Grodog</em> ceremony attracts further investigation to capture the meanings that exist in the <em>Sanghyang Grodog</em>. Aci <em>Sanghyang Grodog</em> is a ritual art that is believed by the local community as a medium of ceremony to prevent the emergence of calamities that disturb the villagers, including drought and epidemics of deadly diseases as well as the ceremony to ask to the greatness of God to maintain harmony and balance in the universe. As a ritual or ceremony, <em>Sanghyang Grodog</em> has a special concept of presentation starting from actors, stages of performance, performance structure and so on. This research will examine the problem of the aesthetic meaning of the <em>Sanghyang Grodog</em> ritual. <em>Sanghyang Grodog</em> is a "ceremony to ask for salvation" which is performed every two years. This is done to neutralize negative elements so that they become positive. The elements that have been neutralized by the <em>Sanghyang Grodog</em> ritual are believed to have a good overall impact on the environment and community of Lembongan Village and the universe as a whole. This research was conducted using qualitative research methods where all data were obtained from participant observation, interviews, literature study and documentation. Data analysis was performed by reducing, clarifying, describing, concluding and interpreting all information selectively.</p><p class="Body"><strong>Keywords:</strong> <strong><em>Aesthetics, Ritual, Sanghyang Grodog</em></strong></p> 2021-04-30T00:00:00+07:00 Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies THE AESTHETIC OF PAMOR LUKIS KERIS PONDOK SENI MAYAPADA IN PAMEKASAN 2021-05-01T11:45:01+07:00 Oktaberia Sakti Maharani I Nengah Mariasa <p>Pondok Seni Mayapada is a hermitage in Pamekasan Madura where the community has an activity of making keris. In this place, they produce a special and aesthetic keris through the method of painting. The keris is painted using fire medium. The results are very unique and interesting. The fire keris painting come up in various forms and designs such as paintings of flowers, paintings of fire, and paintings of leaves. Each painting has the same style because the basis of the painting uses fire, so the color result is only black and white.</p><p><strong>Keywords:</strong> <strong><em>Pamekasan,</em></strong><em> <strong>Keris, Painting, Fire, Aesthetics</strong></em></p> 2021-04-30T00:00:00+07:00 Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies YOSIKA PROFESIONALISM AS PUJANGGANONG FIGURE IN REYOG OBYOK PERFORMANCE IN PONOROGO REGENCY 2021-05-01T11:45:01+07:00 Alfian Arif Ramadhan Eko Wahyuni Rahayu Wahyuni Rahayu <p class="Normal1">Yosika is the name of a young man in Ponorogo who is involved in the art of <em>Reyog</em> Ponorogo, whose main role is as a <em>Pujangganong</em> dancer. His proficiency in playing the character <em>Pujangganong</em> led him to become a professional dancer and well-known artist. This article aims to reveal Yosika's professionalism in her role as a <em>Pujangganong</em> dancer. This research uses descriptive qualitative methods with data collection techniques through observation, interviews, and documentation study. The results showed that Yosika's profession as a <em>Pujangganong</em> dancer in the <em>Reyog</em> Ponorogo show had been built since she was a child. With the support of the whole family and armed with perseverance, Yosika was finally able to reach the pinnacle of her career as a professional dancer in the <em>Reyog</em> Ponorogo show, especially for the character <em>Pujangganong</em>. Profesionalisme Yosika professionalism can be seen through his performance in taking a role as <em>Pujangganong</em> in <em>Reyog</em> Ponorogo, particularly in <em>Reyog Obyok</em>. Through the style of <em>Pujangganong</em> appearance performed by Yosika, <em>Reyog</em> Ponorogo art is adapt to the present demand and make a lot of people, especially young generation admire this art performance. Through Yosika professionalism as <em>Pujangganong</em> character, <em>Reyog</em> Ponorogo has a hope to be continually exist in the future time, which definitely help to preserve the extinction of <em>Reyog</em> Ponorogo performing arts.</p><strong>Keywords</strong>: <strong>professionalism, Yosika, <em>Pujangganong</em>, <em>Reyog Obyok</em></strong> 2021-04-30T00:00:00+07:00 Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies THE EXISTENCE OF GONDANG BATAK MUSIC IN THE DEATH CEREMONY OF SAUR MATUA IN PURBATUA, NORTH TAPANULI 2021-05-01T11:45:00+07:00 Joshua William Simanjuntak Nurhenti Dorlina Simatupang <p>This research using descriptive qualitative method that focused on the existency of gondang Batak traditional music in <em>Saur Matua</em> funeral ceremony in Purbatua, North Tapanuli. The death ceremony of<em> Saur Matua</em> has a function as a media to preserve Batak traditional culture. This study analyse the musical form, function, and the unique activity of gondang Batak using ethnomusicology approach. Data collection techniques are interviews and documentation. The researchers found that there is an effort to preserve Batak cultural heritage through gondang Batak traditional music such as introducing gondang Batak music to the younger generation, practicing Gondang Batak in a daily basis, and understanding the forms and function of the instrument. It is also found that there are 6 functions contained in Gondang Batak and meaning contained within the wedding ceremony can visualize well with a selection of songs and musical accompaniment of Gondang Batak.</p><p class="Body"><strong>Keywords: <em>Gondang Batak, Funeral Ceremonies, Existency, Etnomusicology</em></strong></p> 2021-04-30T00:00:00+07:00 Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies