Implementation of Arts Education in Society Through the Thematic Community Service Program

Harmonia: Journal of Arts Research and Education 18 (2) (2018), 131-142 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v18i2.13769

Implementation of Arts Education in Society Through The Thematic Community Service Program

Juju Masunah1, Lely Kurniawati2

1Department of Dance Education, Faculty of Arts and Design Education, Universitas Pendidikan Indonesia, Indonesia 2Department of Early Childhood Teacher Education, Faculty of Education Science, Universitas Pendidikan Indonesia, Indonesia

Received: March 15, 2018. Revised: July 2, 2018. Accepted: December 12, 2018

Abstract

Since the transmission of arts education in the family is limited in Indonesia, the exploration of teaching strategy for community becomes imperative as a form of informal education. This ar- ticle aims to report research results on the implementation of arts education in society through thematic community service program, namely Pos Pemberdayaan Keluarga (POSDAYA) or “family empowerment post.” This qualitative study used a project-based research method, which began by diagnosing the problems, creating a plan for activities, implementing the plan, and evaluating the results. Participants of this research were women and children from Bandung Barat Re- gency of West Java and students of Universitas Pendidikan Indonesia. Data were collected from interviews, participant observation, and study documentation. The data were triangulated and interpreted. The research found a collaborative teaching strategy between students, advisors, and women who worked for POSDAYA to implement arts education for children through creating dances and musical dramas. The story in the drama contains moral values such as caring for others, appreciating one’s parents, tolerance, and environmental awareness. Implementation of arts education through the community service program conducted by students and or faculty members is beneficial to develop children’s creativity and character.

Keywords: Arts Education; Dances For Children; Community Service Program, Family Empowerment Post

How to Cite: Masunah, J., & Kurniawati, L. (2018). Implementation of Arts Education in Society Through The Thematic Community Service Program. Harmonia: Journal of Arts Research And Education, 18(2), 131-142.

INTRODUCTION tional. Since 2009, the Research and Com- munity Service Institution (LPPM) in UPI A community service program con- has implemented the community service ducted by students is one of the teaching program for students using themes or the- and learning activities in higher education matic programs. One of the themes is “Pos in Indonesia. This program in Universitas Pemberdayaan Keluarga (POSDAYA),” or Pendidikan Indonesia (UPI) is a compulso- “family empowerment post”. This theme ry course subject that should be taken by was created by the Damandiri Foundation all undergraduate students (LPPM UPI, in Indonesia to help low-income families 2016), but other universities consider it op- increase their welfare. The thematic com-

 Corresponding author: Setiabudi Street, Bandung 40154, Indonesia E-mail: [email protected]

131 132 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142 munity service program, POSDAYA, aims their performances, hearing the game- to establish a forum for communication lan, and practicing dance during the tour within social organizations in the commu- or performance in the community. Then, nity and to strengthen the roles of families Sawitri taught mask dances to her family to mutually share knowledge and experi- members in Astana Langgar village, Losa- ences to increase welfare in the communi- ri, Cirebon. Sal Murgianto, in his book of ty. Cahaya Merah Memudar (1993), described In this context, advisors for the the- how the children in Bali learned dances by matic community service programs along watching adults during dance practices. with the students are encouraged by the Caturwati (2008) published some ar- institution to collaborate with members of ticles in the edited collection Tari Anak-anak a community to increase their knowledge dan Permasalahannya [Children dances and and skills based on each advisor’s exper- their problems], which discuss strategies and tise. Since 2010, we have actively partici- methods to create dances for children and pated in programs involving students to show some examples of children’s dances, implement activities in the field of arts edu- such as “kariaan [ceremonial] dance,” “tra- cation. In 2011, one of us (Ms. Masunah) ditional game dance,” and “dance choreo- worked collaboratively with UPI students, graphy for children.” This book provides women, children and artists in Ciater Vil- knowledge for teachers and people who lage of Subang, West Java, to create a form want to explore children’s dances. Howe- of performing arts to attract tourism (Ma- ver, the implementation of this knowledge sunah, 2012). However, after the program in society is still missing in the discussion. ended, many forums could not continue So, we once again served as the advisor for the activities that the students had created the community service program in 2016, together with the members of POSDA- we did research and worked collaborati- YA. Therefore, when Ms. Masunah, was vely with the students and the people in appointed an advisor again for the same the family empowerment forums to train program in 2016 in West Bandung Regen- people in arts education, particularly for cy of West Java, she created activities to women and children. incorporate arts education for women and The purpose of this research is to find children in the community. She believed a strategy to implement arts education in a that women as mothers play a role in edu- society that provides knowledge and op- cating their children informally due to the portunities for women to create children’s unlimited space and time at home. dances. According to Mariam Giguere In Indonesia, arts education in the (2011), there are three forms of children’s community has been developed informally dances, namely dances for children, with over the course of time within various spa- children, and by children. The research ces. This case can be traced back to the ro- explores dances for children as part of the les of performing arts in society. Soedarso- implementation of arts education in the no (2002) wrote that performing arts serve thematic community service program, na- as a part of rituals, personal entertainment, mely POSDAYA or the family empower- and aesthetic presentations. Through the- ment post. se roles, the knowledge and skills of the arts are transferred and accessed by the METHOD children in the community, so the performing arts, like mask dances from Cirebon The research took place in Parong- continue to exist until today. For example, pong Sub-District, Bandung Barat Regen- Masunah (2000) wrote how Sawitri, a tra- cy, West Java, Indonesia. Parongpong ditional dancer of mask dance from Losari Sub-District is located close by North Ban- in Cirebon, learned mask dances from her dung City. The activities took place in se- father and older sister through watching ven villages in Parongpong Sub-District, Juju Masunah, Lely Kurniawati, Implementation of Arts Education in Society Through ... 133 namely Cigugur Girang, Cihanjuang Ra- Our expertise as the advisors for the hayu, Cihanjuang, Cihideung, Ciwaruga, community service program at UPI is in Karyawangi, and Sariwangi. Each village dance and music, so we created a plan to has a forum of family empowerment posts teach the mothers to sing, to dance, and where the students of UPI conducted their to tell stories, then we led them to crea- community service program. The research te dances for children. We used Mariam involved 21 women who actively worked Giguere’s (2011) concept of dances for for the forums of family empowerment children. Then, to implement the concept, post, called women pioneers, students we designed the syntax for teaching dan- who worked for the community service ce which begins by introducing a concept, program, and researchers as the partici- exploring movements, creating a dance, pants. and presenting the dance (Masunah et This qualitative research used a al., 2012). Because this research involved project-based research method (Stoecker, adults who did not have enough experien- 2005). According to Stoeker (2005), one ce with children’s songs and the elements of the characteristics of this method is the of dance, we modified the steps of synectic contribution it makes for a social change approach by adding training activities af- of individuals, organization, community, ter introducing the concept. The next step and even society. This research began by is exploring the movements using analogy diagnosing the problem, creating a plan and various stimulating actions, such as for teaching adults, implementing the ideas, visual, audio, kinesthetic, and tactile plan, and evaluating the results. stimuli. Music is related to the audio sti- Before creating a plan to implement mulus. Lely Kurniawati (2015) stated that arts education for women in the commu- learning music by itself will be boring, ma- nity, we prepared the materials by selec- king it necessary to combine music with ting fourteen children’s songs and com- movements to make teaching and lear- piling them in a CD, searching for stories ning interesting. Also, music can stimulate appropriate for children, and designing students to explore the movements. The teaching activities for adults. We coor- materials for dances to be explored in the dinated the students to work with the creative process are the elements of dance, women in the field and to organize the such as the body, time, space, and energy. workshop of arts education as well as to The final product of the project is a dance create dances for children. Each group of for children involving the work of adults. students selected two representatives to Therefore, we treated adults as stu- participate in the workshop, while each dents who conducted a community servi- family empowerment post invited three ce program and the women as pioneers of women to attend the workshop. Other the family empowerment post. The project students acted as committee members to was completed in two stages. In the first organize the workshop. The advisors and stage, we held workshops on arts educati- researchers were represented as speakers, on for adults, namely for the women and trainers, and evaluators of the project. the students of UPI. In the second stage, Then, we diagnosed the problems by we supervised the adults in creating dan- asking whether the women sing children’s ces for children. The project was held from songs, make creative movements, and tell June to August 2016. We evaluated the stories for children in their daily life. From project from the process of the workshop 21 respondents, 90% of them did not do through to the performance of the dances any of the activities; only 10% of the res- created for children. pondents sing children’s songs and tell stories for their children. It can be said that RESULTS AND DISCUSSION 10% of the mothers contributed to their children’s early childhood education. A Workshop of Arts Education for 134 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142

Adults like spiritual and social competences (Mi- The purpose of the workshop is to nistry of Education and Culture, 2013). Ac- increase knowledge, experience, and skills cording to Gilbert (2002), as the impacts of of adults on understanding the concept learning creative dances, children will gain of educating children, using materials as cognitive, affective, physical, and social a source for creating dances for children, skills. Through concrete examples about and doing creative processes to compose the cases of children’s and adults’ beha- and present the dance. The workshop was viors, the participants will understand held on July 20, 2016, in the auditorium of how to educate their children through arts. Parongpong Sub-District, West Bandung The next step in the workshop is Regency. There were 21 women and 14 training adults to develop their skills in students who participated in the work- children’s songs and creative movements. shop. Materials included children’s songs, Lely Kurniawati, one of the researchers creative movements, and storytelling. As and lecturers in the early childhood te- we modified the synectic approach from acher education program at UPI, trained Masunah (2012) discussed above, the ac- the participants to sing several children’s tivities in the workshop began with intro- songs that she created by herself, such as ducing the concepts of educating children, “Hey Hello Siapa Namamu [Hi Hello What followed by training the adults with songs, Is Your Name],” “Semua Alat Musik [Eve- exploring the movements, telling a story to ry Musical Instrument]” “MeJiKuHiBi- give ideas of dances and moral values, and NiU”, “Maju Mundur [Moving Forward creating and presenting the children dan- and Backward]”, and “Jagalah Lingkungan” ces performed by adults. [Save the Environment]. She also taught We introduced two concepts to the others songs, such as “Tebak Cita-cita [Gu- adults (women and students) about edu- ess My Dreams]” “Soleram”, “Anak Kam- cating children: creativity in arts educa- bing Saya [My Lamb]”, “Tokecang”, “Oray- tion and moral values. Creativity is the orayan” [Imitating the Snake], “Lalamunan” heart of art education because it relates to [Dream], “Niron Tentara [Imitating the thinking and behaving. This can be seen Soldier]”, and “Gumbira [Happiness]”. from the creative dance approach develo- The participants practiced the 10 songs, ped by Gilbert (2002). Gilbert (2002) uses and then Kurniawati taught the women a conceptual standpoint that leads people rhythmic movements based on the songs. to make self-expression and develop their It seems the women already knew some skills through movements. Maralsih and Sundanese songs. Therefore, Kurniawati Herlinah (2014) stated that “creativity is an emphasized teaching the songs in Indo- ability to think about something in a new nesian language until the participants re- way” (p. 148). Children will have develo- membered the lyrics. ped ideas through thinking about themes After the participants learned singing of dance. They will also explore the ele- skills, the dance instructor trained them ments of dance by acting like animals, flo- with elements of dance such as the body, wers, or abstract things, for example. Du- space, time, and energy. Before doing the ring the practice, children will work with movements, the participants identified peers, and parents or teachers can observe parts of their body which can be moved how they behave when they work toget- in locomotor and non-locomotor move- her. According to Maralsih and Herlinah ments. They warmed up by exploring the (2014), the creative process of dance creati- hands, shoulders, head, and legs. Then, on will affect students’ creativity. the researchers instructed participants to The moral values are discussed in use rhythmic songs for exploring the mo- connection with character education. In vements through energy, time, and space. the 2013 curriculum, character education is The women were actively working in the required as part of the learning outcomes, group while they were singing children’s Juju Masunah, Lely Kurniawati, Implementation of Arts Education in Society Through ... 135 songs and stylizing the movements. villages. To give some ideas about embed- ding moral values in the practice of dan- Creating Dances for Children in the Mu- cing and singing, we also told stories. We sical Drama read stories about “Kupu-kupu Merah [the As a follow up to the workshop on Red Butterfly]” created by Rendila R. Uta- arts education, the students and the wo- mi (2016), and the well-known story in men created dances for children in their Indonesia about “Si Kancil” [the Clever respective villages. The purpose of this se- Mousedeer] (Elang Duta, 2015). The red cond step is to learn how adults create and butterfly tells the story about various co- work with children collaboratively. lors of the butterfly; the red one is very fri- Giguere (2011) described dances for endly to others. The story “Si Kancil” rep- children created by adults as “cultural cre- resents dishonesty, even though si Kancil ations, or creative products, that adults is a clever mousedeer. Kancil frequently have made for children’s consumption.” stole cucumbers in the farm, and so one In this context, the children are the pro- day he was caught by the farmer, and he duct of adults’ education and experiences, was finished. The women created personal either teachers or choreographers in the and direct analogies about Kancil and the studio. The aesthetic values of the choreo- farmer. In order to provide the structure graphers or the teachers will appear in the of the dance, one of the women acted as dance that is presented in the practice and a director of the musical drama. She orga- performance. According to Giguere, “The- nized the participants to play as Kancil, se formats allow for a showcase of skills the farmer, butterflies, trees, and flowers. learned by the students to be displayed” They created dances accompanied by the (p. 85). The strength of this approach lies children’s songs. in the connection between the students During the presentation about the and the teachers, the choreographers, the musical dramas, the women were not studios, and the local dance community. aware of the stage. Therefore, we taught The weakness of this method is that the the women to be aware of the audience in children cannot be involved in the process their performance. The women practiced of creating dances. The other approach is without problems for the context of the “dances created with children and adults” performance. Finally, they presented dan- (Giguere, 2011, p. 86). This approach al- ces in the musical drama of “Si Kancil”. lows children to give some input to the fi- Through the activities, the women under- nal product of the children’s dance. The stood the concept of creativity and the mo- role of the teachers or choreographers is ral values in the work of dances. to give instructions and to form the dan- Referring to Smith’s construction ce. The approach of “dances created by method of dance composition or choreo- children without adults” (Giguiere, 2011, graphy, as cited in the book Art and Art p. 87) is a creative process and product of Education (Masunah & Narawati, 2012), dance created by children themselves. This storytelling is the ideational stimulus and approach is usually intended for teenagers the songs are the audio stimulus. Through who have freedom of expression. They these stimuli, women who rarely danced can solve their own problems, have creati- perform their ability to dance and in dan- ve thinking, and are in search of personal ce-making. They felt the workshop was identity. They also can work collaborative- beneficial for them to teach their children ly with peers. when they get home. The students who For the purpose of this study, we participated in the workshop also promi- used the concept of dances for children sed to work with the women in their POS- offered by Giguere (2011) to examine the DAYA to implement their knowledge and types of children’s dances in the work of experiences to educate the children in the musical dramas. Therefore, there are simi- 136 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142 lar steps in the creative process of arts edu- discussed the actors, the dancers, the sin- cation in the community. In the first step, gers, as well as the audience. the adults make stories to be written down The women served as narrators, ac- into the script of musical drama. The script tors, and singers, while the students wor- contains a story, songs, music, and mo- ked as music composers, choreographers, ral values. Then, the students along with and committee organizers. The children the women organize practices with the explored traditional games such as “Oray- children, such as looking for appropriate orayan [Imitation of the Snake]” and “Panen places to practice and perform, making a [Harvest]”. They practiced and performed schedule, and designing costumes for per- in the aula of Karyawangi’s office. Ten formances. Every POSDAYA used various children stayed in line, while their bodies places like the space for creating and pre- moved left and right following the rhyth- senting the musical, such as the auditorium mic song of “oray-orayan”. Two children of the village’s office, the family room, the had a role to catch up to the last children mosque, and the house yard. From July 22 who stayed in line. The dance movements to 29, 2016, the students of UPI worked col- consisted of steps forward along with sha- laboratively with the women and children king the head, and the hands’ movement in the villages to make dances for children. resembled people walking. The girls wore In the end, the advisors of the students vi- kebaya and long skirt. The music used mi- sited the seven villages from July 30-31, nus one with gamelan, while the songs were 2016, to evaluate the children’s dances as sung by the women pioneers of POSDAYA the final products. and one village girl, while the students of UPI managed the music and backstage The Musical “Saudagar Jeung Bendunga- crews. The location of performance was in nana” by POSDAYA Karya Mandiri in the auditorium of the Village’s office. Karyawangi Village In the musical drama, there were The title of the musical drama in two boys representing the guards of the Karyawangi Village was “Saudagar Jeung rich merchant’s son. They wore sunglas- Bendunganana,” (the Rich Merchant and ses and acted like adult bodyguards. They his Dam) written by the students who con- disturbed the girls who played in the yard. ducted the community service program. As children’s musical drama, the two boys The story is rooted in the village, regar- did not fit the figure of children, because ding a merchant who was wealthy (sauda- they acted like adult bodyguards. If they gar), but he only thought of himself. In the had acted naturally as naughty boys, the story, the rich merchant built a dam for the musical drama could be more appropriate irrigation of his rice field without conside- for children. Fortunately, the strategy of ring the people in the village. The impact collaborative work between the students was that people had trouble finding water of UPI, the women, and children was very for their rice field irrigation. The son of successful, because the women participa- the rich merchant was unfriendly with his ted actively as performers and audiences. peers and naughty. One day, the son of the rich merchant was sick. Fortunately, the The Musical “Usep yang Berubah” by people from the village who had the abi- POSDAYA Terasa Beriman in Cihan- lity to cure illnesses helped the rich mer- juang Village chant cure his son’s illness. These people’s The story of the musical drama sta- attitude touched the rich merchant’s heart ged in Cihanjuang Village was titled “Usep and made him aware of the people around yang Berubah [the New Usep].” This story him. He then opened the dam for the wel- describes the change of Usep from being fare of the community. This story was dis- a naughty boy to a good boy. Usep lived cussed by the women pioneers of the fa- with his grandparents because Usep’s pa- mily empowerment post. Then, they also rents passed away when Usep was born. Juju Masunah, Lely Kurniawati, Implementation of Arts Education in Society Through ... 137

Usep’s grandparents were busy working fable, which tells about animals, namely a in the rice fields, so Usep did not have porcupine or Landak who is called “Lan- enough attention from them. Usep always dik”, a turtle, a dog, a rabbit, a tiger, and disturbed his friends, particularly the girls, other animals. Landik lived alone, far even his teacher and other adults. Usep’s away from the other animals, because his grandparents could not handle Usep’s bad body was fully covered with quills. He behavior; therefore, the grandparents sent was unconfident, unhappy, and always Usep to a religious boarding school. Ho- afraid that his quills would hurt others. wever, Usep dropped out of the school and One time, the turtle persuaded Landik to stole the money of a jamu (herbal drinks) join his birthday celebration party. Finally, seller. On his way to get back to his gran- Landik joined the other animals and they dparents’ home, Usep was crashed by a had a great time at the party. Suddenly, a motorbike, until he fell unconscious. When tiger came and launched his attack. Landik Usep gained his consciousness, he came to was able to protect his friends from the ti- realize how bad his attitude was. Finally, ger by attacking the tiger with his quills. Usep changed into a good boy and became The story contains a lesson for children to obedient to teacher and grandparents. be confident, appreciative, and helpful to In the performance, there is a dialo- other people. gue between Usep and the grandparents. For young children, the story of ani- The character of the teacher was played by mals is interesting. They imitated the ani- a child, while the other children danced mals by wearing head accessories made and made games. The songs chosen were of paper representing the characteristics relevant to the story. For example, when of certain animals, combined with a long Usep woke up, the song was “bangun ti- skirt and t-shirt. The girls wore kebaya and dur” [Getting Up]. When Usep went to the cloth designed for children. The boys wore school, the song was “oh ibu dan ayah [Oh pencak silat costumes. Mother and Father]”. When Usep said that To create a variety of movements, the he wanted to be a soldier, the song was musical used eleven songs to accompany “Niron tentara” [Imitating the Soldier], and the dances. The students took five songs when Usep met a jamu seller, the song was from the CD, such as “Hey Hello” as an “sue ora jamu”. The dance movements were instruction song, then the children moved matched with the music and songs. All the backward and forward accompanied by characters were represented by children. “Maju Mundur” song. The children also The children looked happy and enthusias- moved in a circle into “Mejikuhibiniu”’s tic to dance and sing together. The moral song. They delivered a message to save value embedded in the musical drama is the environment with the songs ”Jagalah an appreciation of one’s parents. lingkungan” and “Lalamunan”. The stu- The women pioneers of POSDAYA dents who conducted community service played their role in preparing the hall and program added some songs like “Sipam- the music. The songs were selected and re- pa”, “Dengarkan Curhatku” (Listen to My corded by a woman who actively taught at Heart), “Sang Kodok” (The Frog), “Selamat an early childhood education school. The Ulang Tahun” (Happy Birthday), “Hip-Hip teacher also had access to a hall that can be Hura” (Hip Hip Hooray), and “Kelinciku” used for teaching and practicing the dance. (My Rabbit). The women pioneers of POS- DAYA took part as narrators in the musi- The Musical “Si Landik Yang Kesepian” cal drama and organized the activities as a by Posdaya Asri in Sariwangi Village whole. POSDAYA ASRI in Sariwangi Vil- The children practiced and perfor- lage presented “Si Landik yang Kesepian med their dances in the house yard of a vil- (The Lonely Landik)” by 21 children and lager. The yard was decorated as a hall for 4 women. “Si Landik yang Kesepian” is a the performance. The collaborative teach- 138 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142 ing of POSDAYA ASRI was a successful take care of the bird until it became healthy one because the women, the students, the before returning it to the princess. Princess community, and children worked coope- Elsa was surprised by the honest and loyal ratively, either in the process or in the child, and then the princess asked the child presentation of the product. In fact, their to take care of all birds in the Kingdom. product was selected as the best musical The child was very happy to receive the drama compared to the other six musical job from the princess. At the same time, the dramas. Therefore, “Si Landik” musical princess learned how to appreciate peop- drama was performed at the end of the le because there were unfortunate people community service program in Parong- who were not as lucky as she was. pong Sub-District on August 2, 2016. When Princess Elsa held a birthday party, the children presented dance movements integrated with children’s songs. The songs were “maju-mundur” and in the final dialogue the children sang “pelangi” song. The movements followed the rhythm of the songs: moving forward and backward, jumping, and moving in a circle. The story and the costumes fitted children’s characteristics. The costume is like the daily clot- hes and the accessories were made from Figure 1. Children’s dance by Posdaya Asri paper. The story contains moral values to (Doc. of Masunah, 2016) appreciate others. The children were very happy in dancing, singing, and acting. The Musical “Putri Elsa dan 1000 Mer- They practiced and performed in a small pati” by Posdaya Pandawa in Ciwaruga mosque or musala. Unfortunately, the wo- Village men of the family empowerment post did The story of “Putri Elsa dan 1000 not get involved in creating dances for Merpati (Princess Elsa and the 1000 Birds) children; instead, it was the students of ” describes Princess Elsa as a daughter UPI and the mothers of the children who of the King who had many birds. Some prepared everything. The mothers of the of the birds were given by people in the children who attended the performance kingdom. There was only one child who were happy that their children joined the did not give a bird to the princess; rather, activity to sing and dance. he gave her a ribbon. Princess Elsa really needed one more bird to reach a number The Musical “Angsa yang Buruk Rupa” of 1,000 birds because she already had 999 by Posdaya Muda Mandiri in Cigugur birds. Suddenly, a bird with a blue ribbon Girang Village flew by and stood next to the 999 birds. “Angsa yang Buruk Rupa (The Ugly Princess Elsa was so happy because now Swan)” describes one of four cygnets who she had 1,000 birds. Unfortunately, a child had a “different” look. The ugly cygnet came to pick up the bird. The child said to was always alienated by her siblings and Princess Elsa that to buy that bird the child friends; therefore, she always stayed alone. had to save money for a year. Finally, Prin- One time, there was a rabbit that got car- cess Elsa returned the bird to the child. In ried away by a flood caused by heavy rain. the following days, the child came back to No one could help the rabbit. Fortunately, the princes and gave the bird back to the the ugly cygnet took the risk to save the princess. Princess Elsa was surprised by rabbit’s life from the heavy flood. The sto- the child’s action. The child explained that ry implies the social value of helping each she took the bird away from the princess other. because it was sick. The child would like to Several songs were selected in con- Juju Masunah, Lely Kurniawati, Implementation of Arts Education in Society Through ... 139 nection with the story, beginning with se many early young children and prima- the introductory song “Jagalah Lingkungan ry school age children participated in the [Save the Environment]”, then “Kupu-kupu event. The story of “Selo Harimau Cantik [Butterfly]”, “lalamunan [Dream],” “Hey yang Sombong (Selo the Beautiful but Arro- Hello”, and at the end, “Pelangi [Rain- gant Tigress)” describes a beautiful tigress bow]”. The location chosen to practice the that was arrogant. She did not appreciate dance and perform the musical drama was other animals, because she felt the best. the hall of the office village in Cigugur Gi- Eventually, she came to appreciate the ot- rang. There were about 50 children who her animals, after one particular animal participated in the event. The students helped solve Selo’s problem. from UPI facilitated the children as trainers, musicians, narrators, and costume designers, as well as MC. The women of the family empowerment post supported the event, even though they did not join the performance.

The Musical ”Si Hitam yang tak kenal Le- lah” by Posadaya Pamaneuh Rasa, in Ci- hideung Village The story from POSDAYA Pama- Figure 2. Children’s dance in Cihideung Vil- neuh Rasa was “Si Hitam yang tak kenal le- lage (Doc. of Masunah, 2016) lah (The Black Ant Who Never Gives Up)” or “The Black Ant Who Never Gives Up.” The children performed children’ It was told that a black ant, a king of an ant songs and children’s dance, and there was kingdom, along with all ants was walking a talented child who performed Jaipongan to a certain place. While they were wal- dance. The students of UPI collaborated king, they sang the songs such as “Kuku- with the women of the family empower- ruruk, (Cock a doodle doo),” “Hey Hello siapa ment post to handle the event. The head of nama Mu [Hi Hello What is Your Name],” POSDAYA supported the children by pro- “Bunyi hujan [Sound of the Rain],” “Pe- viding a place in the yard of POSDAYA’s langi [Rainbow],” “Maju-mundur [Moving office for children to practice. Most of the Backward-Backward],” and “Jagalah Kes- women in this village were busy with their ehatan [Take Care of Your Health]”. The daily business because during the day they story represents an ethos of work. They sold flowers. Therefore, the children spent practiced their dance in a small mosque. the day by doing meaningful activities In the beginning, the children looked so with the students of UPI to practice and shy. After they sang the songs, the eleven perform their dances. girls looked very happy. From this activity, they developed confidence and courage to present the movements in front of their mothers and the researchers. The mothers said that the children’s dance could be performed in the night of Independence Day celebration, 17 August.

The Musical “Selo Harimau Cantik yang Sombong”” by Posdaya Juang Rahayu in Figure 3. The Musical drama in Cihanjuang Cihanjuang Rahayu Village Rahayu Village (Doc. of Masunah, 2016) The musical drama in Cihanjuang Rahayu village was very attractive becau- 140 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142

The Analysis of Implementing Arts Edu- POSDAYA Mandiri in Cigugur Girang Vil- cation in Society lage teaches tolerance and environmental Collaboration is a strategy of imple- awareness through its “Angsa yang buruk menting arts education in society. In this rupa”. POSDAYA Juang Rahayu in Cihan- research, the collaborative work was made juang Rahayu Village teaches cooperation among the students, the advisors, and the through the performance of “Selo, Harimau women pioneers of POSDAYA. The seven Cantik yang Sombong”. All of the musical POSDAYAs in Parongpong Sub-District dramas contain character education. When successfully created dances for children. we refer to the 2013 curriculum, social va- Examining the children’s dances lues are required as social competence of created in the musical dramas described learners (Muhamad Nuh, 2013). Social va- above, we came to a conclusion that the lues in the character education are related dances are classified as dances created by to living values. Kokom Komariah (2016, adults (Giguere, 2011). They have two ca- p. 37) explained that living values are the tegories of presentations. First, dances for foundation of human relations with them- children created by adults and presented selves and with others. It is important that by children. There are four villages whose social values are embedded in the practice dances belong to the first category, such as of teaching arts education because Indone- Cihanjuang Rahayu, Cigugur Girang, Cihi- sia is a pluralistic society. In urban areas, deung, and Ciwaruga. The second catego- children live with people who are different ry is dances for children created by adults in terms of culture, language, gender, so- presented by children with adults. They cial class, and religion. It is important that are three POSDAYAs included under this children have the moral value of tolerance category, such as Sariwangi, Karyawangi, to live in society. and Cihanjuang. The syntax that is applied to create the The moral values embedded in the musical drama in all POSDAYAs matched story performed are mostly concerned with Mary Joyce’s concept of creative dance. social values. Social values are contained Joyce (1994) describes teaching dance for in stories with characters interacting with children, beginning with introducing the each other. This interaction between cha- concepts, exploration, and formation. In racters can be seen in the stories staged by each respective village, the students were the villages. For example, POSDAYA ASRI first introduced to the concepts through in Sariwangi village presented the world stories, and then the students explored the of animals, in which the animals interact movements directly trained to them while with each other and they work together to singing the songs. In the end, the students help make “Landik” become confident and formed or created dances for children. In sociable. Another example is POSDAYA telling stories, the students emphasized Karya Mandiri in Karyawangi village. The the moral values such as cooperation, en- musical drama titled “Saudagar jeung Ben- vironmental awareness, and appreciation. dunganana” they staged contains a messa- The implementation of arts educati- ge to share with others in need. POSDAYA on in the workshop and in the seven vil- Pandawa in Ciwaruga foregrounded the lages could take place as a result of colla- values of understanding as is demonstra- borative work among the students of UPI, ted by Putri Elsa. POSDAYA Terasa Beri- the women as pioneers of POSDAYA, the man in Cihanjuang village presented “Usep children, and the community. The training yang Berubah”, representing the value of model developed by the students of UPI appreciation for one’s parents. POSDAYA is similar to the deductive model. Kamil Pamaneuh Rasa in Cihideung Village wor- (2003) explained that the deductive model ked with “Si Hitam yang Tak Kenal Lelah” has a clear problem for all participants. which conveys the message of work ethic. Juju Masunah, Lely Kurniawati, Implementation of Arts Education in Society Through ... 141

CONCLUSIONS ucational tales and Indonesian children’s education). [Online]: http:// The implementation of arts educati- www.ceritadongeng-indonesia. on in society through community service blogspot.co.id/2015/08/si-kancil- programs conducted by UPI’s students is mencuri-timun.html?m=1 a strategy to stimulate informal education Caturwati, E., et al. (2008). Tari anak-anak in the family and the community. In the dan permasalahannya. Bandung: Su- thematic program of the family empower- nan Ambu STSI Bandung Press. ment post, students and advisors collabo- Giguere, M. (2011). Dances for Children, rated with the women pioneers of POS- with Children, and by Children: DAYAs to educate children through the Looking at Recital Dance through a arts and creative process that embed moral Lens of Children’s Culture. Journal of values. Through the program, the women Dance Education, 11(3), pp. 84-89. in the seven villages in Parongpong, West Gilbert, A.G. (2002). Creative dance for all Bandung, increase their knowledge and ages: a conceptual approach. Seventh experiences about singing and dancing. printing. VA, U.S.A.: The American Then, they created dances for children in Alliance for Health, Physical Educa- the musical drama. tion, Recreation and Dance (AAH- Dances for children created by adults PERD). were created in two steps. In the first step, Institute of Research and Community Ser- adults were trained to sing, to dance, and vice of UPI. (2016). Buku Panduan to tell stories. We trained adults with arts Kuliah Kerja Nyata Tematik Pos Pem- education by modifying a synectic model berdayaan Keluarga (POSDAYA) UPI offered by Masunah (2012). Syntactically, 2016. Bandung. the training for adults begins with intro- Joyce, M. (1994). First Step In Teaching ducing the concepts, training the materi- Creative Dance. California: National als, exploring the movements, creating the Press dance, and presenting the dance. Teaching Kamil, M. (2003). Model-Model Pelatihan children in the community through practi- (Training models) (unpublished pa- cing and presenting the musical drama is per). Bandung. actually a tool to teach children moral va- Komariah, K. & Saripudin, D. (2017). Pen- lues such as creativity, empathy, caring for didikan Karakter (Character education). others, politeness, and collaboration. The- Bandung: PT. Refika Aditama. se character traits represent living values Kurniawati, L. (2015). ”Pembelajaran which are important for children to live to- Musik untuk Anak Usia Dini.” in gether in a pluralistic society. The thematic Masunah, J. (eds.). Pendidikan Seni community service program related to the dan Aplikasi Pembelajaran berbasis family empowerment post or other themes Kreativitas dalam Pengembangan Kara- can be embedded in teaching arts educati- kter Anak Usia Dini. Bandung: CV. on that embeds social values to motivate Bintang Warli Atika. families educating their children through Masunah, J. (2000). Sawitri Penari Topeng arts. Losari. Jogjakarta: Tarawang. Masunah, J., Milyartini, R., & Tarsidi, D. REFERENCES (2012). ”Pengembangan Model Pen- didikan Seni bagi Siswa Berkebu- Desfina. (2014). Tari Kreatif: Studi Kasus tuhan Khusus” Research report of Tiga Guru Tari di Jawa Barat. Dis- Post-Graduate Grant]. Bandung. sertation. Malaysia: Universitas Ma- Masunah, J. & Narawati, T. (2012). Seni dan laysia Pendidikan Seni. 2nd edition. Band- Duta, E. (2015). Cerita dongeng edukasi ung: P4ST UPI. dan pendidikan anak Indonesia (Ed- Masunah, J. (2011). Pemuliaan Angklung 142 Harmonia: Journal of Arts Research and Education 18 (2) (2018): 131-142

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