Sembadra, Journal of Arts and Education Studies <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> Arts Education Center of Excellence en-US Sembadra, Journal of Arts and Education Studies 2716-5043 <p><strong>Retained Rights/Terms and Conditions of Publication</strong></p><p> </p><p><strong>1. As an author you (or your employer or institution) may do the following:</strong></p><ul><li>make copies (print or electronic) of the article for your own personal use, including for your own classroom teaching use;</li><li>make copies and distribute such copies (including through e-mail) of the article to research colleagues, for the personal use by such colleagues (but not commercially or systematically, e.g. via an e-mail list or list server);</li><li>present the article at a meeting or conference and to distribute copies of the article to the delegates attending such meeting;</li><li>for your employer, if the article is a ‘work for hire, made within the scope of your employment, your employer may use all or part of the information in the article for other intra-company use (e.g. training);</li><li>retain patent and trademark rights and rights to any process, procedure, or article of manufacture described in the article;</li><li>include the article in full or in part in a thesis or dissertation (provided that this is not to be published commercially);</li><li>use the article or any part thereof in a printed compilation of your works, such as collected writings or lecture notes (subsequent to publication of the article in the journal); and prepare other derivative works, to extend the article into book-length form, or to otherwise re-use portions or excerpts in other works, with full acknowledgement of its original publication in the journal;</li><li>may reproduce or authorize others to reproduce the article, material extracted from the article, or derivative works for the authors personal use or for company use, provided that the source and the copyright notice are indicated, the copies are not used in any way that implies Faculty of Social Sciences and Law, Universitas Negeri Surabaya endorsement of a product or service of any employer, and the copies themselves are not offered for sale.</li></ul><p>All copies, print or electronic, or other use of the paper or article must include the appropriate bibliographic citation for the articles publication in the journal.</p><p> </p><p><strong>2. 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If such authorization and consent has not been given to you, an authorized representative of your employer should sign this Form as the Author.</p><p> </p><p><strong>6. RCEPM-LIPI Copyright Ownership</strong></p><p>It is the formal policy of Faculty of Social Sciences and Law, Universitas Negeri Surabaya to own the copyrights to all copyrightable material in its technical publications and to the individual contributions contained therein, in order to protect the interests of the RCEPM-LIPI, its authors and their employers, and, at the same time, to facilitate the appropriate re-use of this material by others. RCEPM-LIPI distributes its technical publications throughout the world and does so by various means such as hard copy, microfiche, microfilm, and electronic media. It also abstracts and may translate its publications, and articles contained therein, for inclusion in various compendiums, collective works, databases and similar publications</p><p> </p><p>Every accepted manuscript should be accompanied by "<a title="MevJournal - Copyright Transfer Agreement" href="">Copyright Transfer Agreement</a>" prior to the article publication.</p><p> </p> GETAK MASK DANCE IN PAMEKASAN MADURA AS A MANIFESTATION OF PRABU BALADEWA FIGURE <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> Eko Wahyuni Rahayu Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies 2021-04-30 2021-04-30 3 1 48 55 10.26740/sembadra.v3n1.p48-55 RITUAL AESTHETICS OF ACI SANG HYANG GRODOG CEREMONY IN LEMBONGAN KLUNGKUNG VILLAGE, BALI <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> I Gede Yuda Pramada I Nengah Mariasa Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies 2021-04-30 2021-04-30 3 1 40 47 10.26740/sembadra.v3n1.p40-47 THE AESTHETIC OF PAMOR LUKIS KERIS PONDOK SENI MAYAPADA IN PAMEKASAN <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> Oktaberia Sakti Maharani I Nengah Mariasa Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies 2021-04-30 2021-04-30 3 1 33 39 10.26740/sembadra.v3n1.p33-39 YOSIKA PROFESIONALISM AS PUJANGGANONG FIGURE IN REYOG OBYOK PERFORMANCE IN PONOROGO REGENCY <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> Alfian Arif Ramadhan Eko Wahyuni Rahayu Wahyuni Rahayu Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies 2021-04-30 2021-04-30 3 1 20 32 10.26740/sembadra.v3n1.p20-32 THE EXISTENCE OF GONDANG BATAK MUSIC IN THE DEATH CEREMONY OF SAUR MATUA IN PURBATUA, NORTH TAPANULI <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> Joshua William Simanjuntak Nurhenti Dorlina Simatupang Copyright (c) 2021 Sembadra, Journal of Arts and Education Studies 2021-04-30 2021-04-30 3 1 13 19 10.26740/sembadra.v3n1.p13-19