HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 37-45 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 Permalink/DOIhttp://dx.doi.org/10.15294/harmonia.v14i1.2789

REOG AS MEANS OF STUDENTS’ APPRECIATION AND CREATION IN ARTS AND CULTURE BASED ON THE LOCAL WISDOM

Sri Ambarwangi* S. Suharto**

Teacher of Vocational School 1 Pringapus Semarang District, E-mail: [email protected]

Lecturer of Music Department, Semarang State University E-mail: [email protected]

Received: July 2013. Accepted: Februari 2014. Published: Maret 2014

Abstract

This paper is the result of the study and the implementation of learning in the field of the author, especially in the implementation of the study of Arts and Culture in the vocational schools. The purpose of this paper is to show that by learning local culture based on learning objectives the corresponding to the curriculum can be reached. In fact, the local culture also containing more local wisdom is felt directly by the students. The art of , known around Pringapus Semarang Regency, can be used as means of learning arts for students, especially in the activities of ap- preciation and expressions. The existing values in the art of Reog can be conceptually presented in class, as well as directly through the students’ activities of appreciation and expression in the form of performances in the school environment. Students can easily receive learning materials and can be more expressive while presenting the show. The values that are in the presentation of the art of Reog are social, religion, nationalism, and culture. Students can present Reog with ent- husiasm and expressive as a show that has already exist since a long time in the environment of their own, and even many have become the performers of Reog in their neighborhood. Reog has already been part of his life that has the role of self-actualization, expression, social, and cultural. Most of those students feel proud to be a part in the show in his living quarters so that they do not feel ashamed of serving the art in school.

Keywords: Reog; Possessed; Based on Local Wisdom; Arts and Culture

INTRODUCTION a problem in learning that a large number of teachers have different interpretations. School-based Curriculum (KTSP Even many just give Western art concepts Curriculum) of Arts and Culture for the due to their background of Western art non Vocational School of art in fact has al- without any opportunity for the students ready accommodated local arts grants to to understand the use of the concept and be awarded in the lesson. Its implementati- the expression. Thus, the learning objecti- on has already given the freedom for edu- ves are not achieved. cation to develop units in accordance with Lack of understanding in application the circumstances, the means, and the local and different art background from the con- environment. The standard of competence cept to be achieved in the curriculum lead in art music and dance has already accom- to many different interpretations among modated arts as a part of an aesthetic lear- teachers. It is understandable if teachers ning which includes artistic appreciations, with educational background of Western creations, and expressions. There comes to music which has been ingrained in Wes-

37 38 HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 37-45 tern notation system should teach a diffe- it has its own peculiarities customize exis- rent Javanese traditional music notation ting local traditions in the area. Up to this system. However, it does not mean that point a show is always packed with hun- teachers should stop searching for new dreds of spectators, even thousands. innovations to the implementation of lear- Reog could still exist and is favorable ning the art of local traditions that indeed until now. The reason is in its functions as should be given will be stopped anyway either an entertainment or other functions, since the learning objectives which are such as the socio-cultural and ritual pur- relevant to the competency standards in poses. This is what inspires the author to schools should include appreciations, ex- investigate the arts in order to make it as pressions, and creations. And to achieve it, a medium of appreciation and expression, there are actually a lot of ways to be done including the creation of vocational stu- by the teachers, both in class and outside dents of Pringapus. During served in the of class. school environment, it is always followed It is wise to learn the art of traditi- by enthusiastic students, both as a perfor- on that comes from the local art. Learning mer or a dancer as well as the audience. resources in the form of abundant local In fact, according to their testimony, they art traditions around schools can be used have become the performers of Reog since in learning. This course will also enable they were children. The author also explo- teachers to provide the materials for the res their artistic endeavors in their living students that are accustomed to learn this quarters, especially in the arts of Reog, so tradition. This would be much better than local values can be achieved when it is giving Western music learning materials used as a medium of learning. The art of that are difficult for students to under- Reog has long grown and becomes a part stand due to the infrastructure as well as of the life of the local community expressi- the heterogenous background of students. on. It is believed to contain positive values Western music is really foreign to them. that can be used in the world of education. SMK Pringapus is a state vocational Values that are believed to eventually be- school located in the village of Jatirunggo come a part of the society, which are often in sub-district Pringapus, whose territory called local wisdom, will facilitate this ma- borders on Boyolali Regency, Grobogan, terial as a medium of learning arts. and the town of Salatiga. For several years In accordance with its character, the the author had difficulty in teaching arts to lesson of Arts and Cultural has its own pe- the students. Students still have not easi- culiarities and it has a specific purpose. The ly received the material of art music pri- existence of Arts subject at schools is not to marily in the concepts, such as notation create artists, nor to brighten students with of melodies, harmony, and so that West their math-logic. It is such a special purpo- grammatical. Likewise in the management se to soften the senses, intellectual, moral, practices of learning music. This might be and to strengthen the sense of nationalism. due to environmental background of the Besides psychologically, arts can help stu- students who are still unfamiliar with the dents develop their smooth and gentle materials. Instead, they were pretty enthu- nature and a sense of solidarity in accor- siastic if invited to a discussion of the mu- dance with the nature of art that it plays sic traditions of the local area such as Reog. or invests (Dewantara, 1977; Adipal, 2010; Reog is a kind of art that has flouri- Campbell, 2001) . shed since decades ago until now in Se- The values in the traditional arts marang district which borders on Boyolali are believed to be good for decades of life Regency, Salatiga city, and Grobogan. It is to be a right medium for students to ex- like a , jaran kepang, and jat- press themselves and be creative if it can hilan. Reog in Semarang district is not as be managed well in the learning process. grand as the show of Reog Ponorogo, but This could concern in the management of Sri Ambarwangi, Reog As Means of Students’ Appreciation and Creation in Arts ... 39 time or the exact subject matter, the deter- are expected to master it or the learning mination of classes, and the performances objectives in order to be able to sing or play of material parts accordingly. The parts music that is suitable for the purpose of the that cannot be applied at schools can be lesson. selected without omitting the main sub- An arts education with its own cha- stance in the Reog art. This is what authors racteristics makes it have a special purpose continuously examine the implementation in achieving the goals of general educati- of learning the local tradition art especially on. There are three properties owned by Reog in SMK Negeri Pringapus. the education of Arts and Culture; they are the nature of multilingual, multidimen- Role of Art Education in Schools sional, and multicultural. Multilingual Art music in school-based curricu- means the development can be done in va- lum (SBC) of vocational schools is a piece rious ways and media, such as visual arts, of the Arts and Culture subjects, inclu- sound, motion, roles, and the mix of those ding other arts such as visual arts, dance media. Multi-dimensional means the de- and theater arts. In the background of the velopment of competencies that includes competency standards of this lesson serve conception, appreciation, and creation by an objectives amog other things: (1) to un- blending harmoniously with the elements derstand the concept and the importance of aesthetics, logic, kinestetics, and ethics. of art and culture, (2) to show appreciation And, multicultural competency means the attitude towards art and culture, and (3) to development of competencies through express creativity through arts and culture meaningful activities that lead to an appre- (Depdiknas, 2006) . ciation of the cultural diversity of Indone- Arts and Culture has its own dis- sia and foreign countries. tinctiveness or uniqueness that does not Music education has its own domain belong to other subjects, so learning this which is different from other fields, such subject must be different from others any as mathematics which is farming out the way. This is very beneficial to the develop- domain of logics. The field of art is a sense ment needs of students. In arts education, and appreciative attitude that can be achie- to achieve meaningfulness is known by the ved through the activities of appreciation approach of “learning with arts”, “lear- and creation to meet the individual needs ning through arts”, and “learning about of harmony. Arts and Culture is a group arts”. The activity with this approach is of subjects which has the aesthetic charac- to provide an aesthetic experience in the teristics of learning distinctive competence form of creative activity or expression, and and standard in the achievement of basic appreciation. “Learning with arts” implies competencies (Ambarwangi, 2013, p. 78). that in any learning activities we can en- Human beings essentially have mul- gage the art in it. For example, studying tiple intelligence which is not based so- while listening music. “Learning through lely on intelligence and logical, but other arts” implies that the art can be used as a intelligence. According to Gardner (1993), means to learn things or other fields. For human beings have multiple intelligences example, in learning songs, while learning among others (1) linguistics (functional music we could also learn literature, his- language proficiency), (2) logical-mathe- tory, nationalism, social, religion, and ot- matical intelligence (the ability to think hers. This concept is embraced the notion coherently), (3) musical intelligence (the popularized by Read (1970), known by the ability to capture and create a pattern of approach to education through art. “Lear- tones and rhythm), (4) spatial intelligence ning about arts” means that to achieve the (the ability to form mentally images about aesthetic goals students can directly learn reality), (5) physical-kinesthetic intelligen- arts covering all aspects of the art. For ce (the ability to produce fine motor move- example, when learning music students ments), (6) intra-personal intelligence (the 40 HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 37-45 ability to know yourself and develop a sen- wisdom is understood as the ability of a se of identity), and (7) interpersonal (social) person in using reasonable mind to act or - the ability to work effectively with others, to behave as a result of an assessment of connect with others, and to show empathy things, objects, or events that occur (Rid- and understanding, to observe their moti- wan, 2007, p. 27). vations and goals. Interpersonal intelligen- Local specifically refers to a limited ce (the ability to understand other people). interaction space with a finite system of Music teachers can take advantage of the value. As an interaction space that has nature of human intelligence to get the been designed in such a way that it in- whole musical concepts by exploring all volves a relationship pattern of man with the existing potential. Any effects resulting man, or man with his physical environ- in the art education in schools will lead to ment. These patterns of interaction that general education purposes. Students who have been designed are called settings. It is have achieved the standard of high appre- an interaction space in which one can sort ciation and creation could be the ones who the face-to-face relationships among their like to respect others, creative, gentle, tole- environment. A life setting that is directly rant, able to come up in public, self-confi- formed will produce values. These values dent, even intelligent. Human traits with will be the cornerstone of their relation- these properties are not parts of the gene- ship, or as a reference for their behavior. ral education objectives of various types For example, local genius that still of education. It is not possible to achieve persist in the life of Javanese is a Javenese the objectives of education only through psychological notion. This psychology is a the kind of education that involves the kawruh Javenese psychiatric. This includes left hemisphere of logical, analytical, sys- the volatility of reason, sense, and desire tematics, and so on, but also involves the of Javenese people to hold their lives. A Ja- right hemisphere of intuition, imagination, vanese generally lives in psychiatric world innovation, synthesis (holistic), creations (Endraswara, 2003, p. 211). Values of begja, and so on which are obtained through arts watak nrima and rasa rumangsa are examp- activities, such as rhythm, tone, color (De- les of local knowledge which generally Porter and Mike Hernacki, 2000, p. 27). embrace . Students who are active in the choir, for The tradition art is a living art tra- example, will be familiar with the nature dition in the area with a tradition and lo- of the work, like helpful, tolerant and res- cal wisdom enclosing. Values that exist pect other people’s love, harmonious, have in both the background of the creation as a high musical taste, gentle, confident and well as existing symbols in the tradition disciplined. It is all a direct result caused art are local tradition alive hereditary for in the process of training up to her appea- generations. rance. That is to be expected in the general The cultural values in a particular education goals. society are supposed to only be quatified One important thing to enhance the with the local culture rather than other cul- creativity and intelligence of the students tures. This is due to the reason that somet- is a tribute to local culture itself. Because hing that is considered to be good in certain the local culture is the basis for the charac- communities may not be good in others. ter of a society as well as the success of an Because these values are only produced educational attitude parameters. by a system that is local to a specific cul- Local wisdom often called a local tural value thus cannot be measured with genious can be understood as a human ef- the system originating from other cultural fort using his intelligence (cognition) to act systems, though it is considered universal. and to behave towards things, objects, or For this case then comes the indigenous events that occur in a given space. This de- psychology that first appeared in the 1970s finition is arranged in etymology, in which in Asian region. The core of this study is Sri Ambarwangi, Reog As Means of Students’ Appreciation and Creation in Arts ... 41 that psychological theories from the West into six sections, namely a private functi- could not be used as a basis for the study on, social, physical, religious, educational, of people from Eastern societies that were and economical functions. local and came from different cultural sys- As one of the cultural elements, art tems. Kim and Berry (1993) define an indi- has a function as a reference of action to its genous psychology as the scientific study supporters. As a cultural system, to meet of human behavior or mind that is native, the needs of aesthetic, art can serve as a re- that is not transported from other regions, gulator, manager, or controller in arts ac- and that is designed for its people. Today tivities. This exists in the traditional arts. many scientists both anthropologists as As a system, therefore, the function of art well as psychology experts use this as an is not just usability, but it is meant to fun- approach to his research. ction as something that can be donated on a particular party in a system. The art de- METHOD velops and standardizes through the arts of social traditions of a society (Parsons, This type of research is classified into 1951, Rondhi, 2002, Triyanto, 1994, Rohidi, qualitative research using analytical and 1993). descriptive writing and ethnomusicolo- Thus, it is clear that an art would gy approach. Ethnomusicology is a rese- disappear when it is no longer a part of arch approach to understanding the music the particular cultural system of society. concept of community maker. Researchers A particular art tradition will be lost if no can learn to feel, plays, expressed in accor- longer used for ritual, social events, as well dance with those of society. The study of as entertainment. Its current status is not a music in the context of culture according cause of art to be manifold, one of which is to Merriam (1964), known as a model for a shift in culture that exists in society such the study tripated Ethnomusicology can as the globalization era, an era in which the be studied from three levels, namely (1) influence of technology is so powerful to the concepts of music, (2) the behavior of change society. both players and music lovers, and (3) the sound of the music itself. Thus the study of Traditional Arts Reog ethnomusicology should also not far from Reog, or something like kuda lumping, the three aspects in analyzing the data. ebeg, jatilan, and kuda kepang are already Techniques of data collection by inter- known in the Javanese community. These view, observation, and documents. Data arts have become a national art which was were analyzed with the interactive analy- in the past concentrated to mystical (nda- sis technique of Miles and Huberman with di, or possessed) as one of its appeals. In the ethnomusicology research approach. fact, groups of Javanese, wherever they are in the world, almost have a group of kuda RESULT AND DISCUSSION lumping (Suara Merdeka, 15 September 2012). Functions of Traditional Arts in Human If it is seen from the property used, Life the form of performances, as well as the The emergence of art, whether non- background of the meaning behind the art, physical or physical arts has functions for Reog has similarities with other arts. Reog human beings or their lives. Art has taken and similar types of art, have players/dan- a role in the progression of human civili- cers using artificial horse made of woven zation in the world since prehistoric times braided bamboo, or animal skin/lumping, until the contemporary. Thus the function then they dance to form such as caval- of art can vary in line with the human ci- ry formations, by providing elements of vilization. According to Chapman (in Se- magic as one of its appeals. Sometimes in tiawan, 2012) the function of art is divided some areas such as Kebumen, Brebes, and 42 HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 37-45 elsewhere add barongan and penthul as an the story of the show. The cavalry troops integral part. In Ponorogo, this kind of art depicting brave troops still have has become a magnificent show with a ful- to get reinforcements from the invisible ly equipped property with the name Reog army of Nyi Rara Kidul in each battle. At Ponorogo . least, that is the myth that Javanese com- This art has exist and continue to be munity believed that this kind of art was preserved for generations without being expressed in a scene of burning incense in known who and when first played. Ne- the show (Ananda, 2011). vertheless, the community support this kind of art and consider that it is part of Reog Art as Expression and Art Apprecia- their life as an aesthetic expression, the ex- tion of SMK Pringapus Students pression of joy, anger, a sense of mutual, The state vocational school of Prin- even a sense of nationalism or heroism. gapus is located less than 15 km from the Of the form of the show, this art ref- downtown of Semarang Regency to the lects the expression of an egalitarian so- east. This school is built on hilly ground ciety, but also patriotic. As well as other which is not much different from the hil- folk art, this is not art since the feudal ap- ly environment surrounding area. Most pears as reverence and devotion the peop- of the students come from the surroun- le on him (The King). This art appears as if ding areas close to the borders of Boyola- the supporters are already aware of their li Regency, Grobogan, and Salatiga. The positions just as the commoners. It can be school is located on the outskirts of the city seen from the meanings in any parts of the that was originally set up to accommoda- show that are filled with symbols. The role te people from the outskirts of the city to of Barongan (or in Brebes) symboli- meet the needs of the garment industry zes a King or a leader who has the right to that happens to set up around the area receive money (tribute) from the audience, garment industry. One of the departments and the role of penthul as a symbol of the in this school is fashion, and the others are king’s advisers, who despite his small but the engineering automotive to motorcycle highly appreciated by the king, or other and multimedia. players. The subject of Arts and Culture is one The interesting part of this art per- given in each class which include music, formance events is ndandi after the ritual dance, and visual arts. However, since the- of burning incense. People who perform re is only one teacher whose educational this ritual should be considered a qualified background is music, then the music class person as it is considered for the suppor- is more dominant, although it only lasted a ters as an important part that do not mess few years. Next, the teacher is doing inno- around. The ritual of burning incense sym- vation as the response to students that the bolizes the beliefs of the ancient Javanese music lesson is less encouraging. The lack that still believed in animism and dyna- of a good response from these students mism as well as the influence of Hinduism. is more because most materials are pre- In some particular areas, it is a symbol of sented a lot of Western music notation and devotion to God that shall pray for sal- other types of diatonic music. Whereas a vation. In fact, kuda lumping in Brebes is lot of students are from the communities to summon spirits. It could be either the that cultivate the traditions of art like Reog. ghosts of deceased ancestors or deceased Finally, the author, as one of the teachers animals. While in the areas that are still of the Art and Culture utilize Reog as a close to the palace of Surakarta and Yo- medium to convey the material of culture gyakarta, the ritual of burning incense is and arts, ranging from theoretical studies a symbol of prayer or asking for help on to showing Reog presentation at the school satyrs or ethereal (especially those consi- by students. dered to be good) to help the fight like in Reog is a traditional art that has Sri Ambarwangi, Reog As Means of Students’ Appreciation and Creation in Arts ... 43 existed for decades in the region. Many des this art still exist. They enjoy the show Reog groups are establieshed in this region including the performance of possessed or and frequently perform for both institu- ndadi. Nevertheless the ndadi is less vulgar tions and individuals. Reog similar art with when performed at schools. jaran kepang, jathilan, ebeg, and reog Ponoro- go remains a kind of art that is in great de- mand by the local community. Every show is always attended by hundreds of people around. Reog performances in school is one of the programs that is always done in state vocational school of Pringapus. In addition to channel students’ interests and means of expression at the arts, it is an effective medium in learning culture as well as gro- wing sense of social solidarity and national Vocational High School students unity. Reog performances in the school are Figure 1. Playing at School expected to be used as a means of instil- ling a sense of solidarity, mutual aid, in Ndadi or possessed is a highly antici- addition to the symbolic values of heroism pated attraction by audiences in each per- that exist in Reog. Because it is a symbol of formance of Reog, jaran kepang, and many heroism which describe the gallant troops others. According to Sunoto Parmin, a who drive horse (Interview with Sunoto, handler of Reog Turonggo Jati Pringapus, the leader of Reog Turonggo Jati, dated the type of ndandi can vary depending on May 25, 2013). the spirits called. The ghosts could be the The performance of tradition arts in deceased animal spirits, genies/demons, school can also instill values directly to and ancestral spirits. If the spirits are sum- students through the expression and ap- moned by the handler the spirits of the preciation activities like Reog. Cultivating animal, then the dancer will behave like of mutual respect over the tradition arts animals so they can eat the leaves or climb by the students is also a concrete manifes- trees very quickly like a monkey. The aut- tation forms of multicultural lessons for hor can see when viewing the show of Reog students. The cultivating of multicultural Turonggo Jati group. A dancer suddenly education is suitable provided through climb the coconut trees around the area of arts can be very effective if properly ma- show very quickly as a monkey. naged (Ambarwangi, 2013, p. 78-85). Stu- dents who play and watch alike learn through the performing tradition arts like Reog. When playing Reog they can directly express the arts and feel a sense of solidari- ty and togetherness, mutual trust, mutual respect while coordinating these perfor- mances. Likewise, students who watch. They can appreciate it, and can appreciate friends who enthusiastically express the tradition arts. Being Reog player in the community in which they live is a pride, they do it with no shame to show that expression in the Figure 2. Players who take her clothes off and school environment. With these values are dance for ndadi believed to be good and proven over deca- 44 HARMONIA : Journal of Arts Research and Education 14 (1) (2014): 37-45

The performance of ndadi at schools community. Even the way the money can can be packed solely for entertainment and be obtained dues to every citizen, especial- a means of artistic expression for the stu- ly if the response is in order along with ri- dents. The deceased animal spirit can be tual and celebration events like merti desa. summoned so the performer only eats the From the explanation above it is leaves. However, according to one of the clear that the art community for the Reog dancers, Faisal, this ndadi can pretend if his Pringapus supporters has social functions. intention is simply to entertain. If you do Collecting societies in which they mutual- not believe the incident, ndadi will not hap- ly interact in a single art activity they like pen; all happened is pretense. However, if and most of them simply do not get any the offender believe it, then he will actual- rewards are strong evidences of the local ly be possessed. And have a professional community to commit to building a society handler who can do that, either when ma- and its culture. And, this will make the tra- king ndadi to healing or reviving. ditional art Reog will continue to exist in this area. Value of Local Wisdom in Reog and its The care of the society has been Functions in Pringapus proven when recruiting many teenagers Ndadi can possibly happen as the involving to be dancers. It proves a gre- spirits are called and enter the soul of the at support from the community towards player when the handler prays to call. art to remain sustainable. Moreover, the Praying to summon spirits and burning in- music players and the dancers are mostly cense is a symbol of faith to always pray to from students of the state vocational school God. According to one of the religious lea- and the ones graduated from the school in ders, Qozin (35) most of the communities which the author serves. It will be a very around the Pringapus sub district is not natural model of inheritance, in addition real (Islam Abangan). Animism and to the continued support of education in dynamism as well as very strong Hindu holding Reog performances in the school influence are in their spiritual lives. environment with special packaging for There are distinct positive values in the world of education. the show either it is done at school or in the community where this art came from. CONCLUSION Positive values in the school have been discussed in item 3.1 above. The existing Reog in the region of Semarang values in the community can be felt when District still exist since there is good sup- the author made observations and inter- port from all elements of the community views with the leaders and performers on supporters, local governments, as well as the field. The reception was very friendly the education world. However, another and enthusiastic as one evidence that ap- element that stands out is because of the preciate the guests is one that should be functions of art to the community. Those done by every citizen. Even the author was functions such as for personal aesthetic given the freedom to cover every show needs, the social needs as a means of in- without any interference from the dancers teracting with others in order to meet the on the stage. Another positive value is that social needs of collectivity, as well as spi- the players supporting a group totaling 40 ritual needs, and cultural functions. These personnels very easily coordinated by the functions work systematically to establish group leader. Their solidarity is very high. a separate system to create harmony in the They never compete in the income prob- society in the Pringapus district. If the va- lem. Often the money the group received lue of harmony is drawn into the world of ranges from 3 to 4 million per show to education, it will give a positive effect. The be saved for the group once. That money show runs well since it is maintained by could be used for social activities of the the community, can be the lesson and lear- Sri Ambarwangi, Reog As Means of Students’ Appreciation and Creation in Arts ... 45 ning in schools. These values, in addition Ardipal. (2010). Kurikulum Pendidikan to other positive values, can be packed into Seni Budaya yang Ideal bagi Peserta one of the cultural arts media, in which Didik di Masa Depan. Jurnal Bahasa the role of the Cultural Arts lessons can dan Seni. 11(1). be very strategic to build the characters of Ananda. (2011). Ebleg Akar Kesenian Kuda students. Lumping. Retrieved http://adisu- The implementation of Arts and Cul- listyo.wordpress. com/2011/05/06/ ture subject by bringing local art that is ebleg-akar-kesenian-kuda-lumping- believed to contain local wisdom in Prin- ebleg-the-root-of-traditional-kuda- gapus vocational schools is a synergistic lumping-dancing. May 16, 2013. effort due to the fact that most of the lear- Campbell, D. (2001). Efek Mozart bagi Anak- ners are also the actors of these arts in their anak. Jakarta: Gramedia Pustaka Uta- areas. The duty of teachers and education ma. units is to relate it in the management and DePorter, B. & Mike Hernacki. (2000). selection of material, so it is completely Quantum Learning. Transalated by consistent with the objectives of art edu- Alwiyah Abdurrahman. Jakarta: cation in the public schools as a means KAFIFA of appreciation, creation, and expression Dewantara, K.H. (1977). Pendidikan Bagian for students. Thus, an art education has a Pertama. : Majelis Luhur special purpose to be really useful in the Persatuan Taman Siswa. framework of achieving the objectives of Endraswara, S. (2003). Mistik Kejawen: education in general. Sinkretisme, Simbolisme, dan Sufisme The results of this study can be used dalam Budaya Spiritual Jawa. Yogya- as an input in order to find a learning mo- karta: Narasi. del of the Arts and Culture on the basis of Gardner, H. (1993). Multiple Intelligences: local wisdom of the area where the school From Theory to Practice. New York: is located. Therefore, it is necessary to Basic Books hold a comprehensive study covering all Kim & Berry. (2006). Indigenous and Cultur- aspects. Those studies could be Classrom al Psychology: Understanding People in Action Research (CAR), School Action Re- Context. New York: Springer. search for the supervisors and principals, Mack, D. (2005). Musik di antara Seni dan as well as a cultural research. 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