ABSTRACT
LEARNING
THE KUNTULAN DANCE FOR THE DISABLED (DEAR IMPAIRED)
AT
THE PESONA BLAMBANGAN DANCE STAGE BANYUWANGI
Name : ERLYNA
FATMAWATI
NIM : 19020134085
Study Program :
Sendaratsik Education
Department :
Sendarastik
Faculy : faculty
of Language and Art Name of
Instiution :
surabaya State University
Advisor :
Prof. Dr. Hj. Warih Handayaningrum, M.Pd
Academmic Year :
2024
Kuntulan dance involves the expression of body
movements as a basis for creating dance works. Humans have the ability to
explore their bodies, creating a work of dance art which is often referred to
as choreography. The Pesona Blambangan Banyuwangi Dance Studio, founded on
March 16 2015, holds practice every Thursday evening once a week with a
membership of 26 people. This studio has an open, free and independent nature. Pesona
Blambangan provides an opportunity for deaf children to practice and develop
their dancing skills. One of the works developed at this studio is the Kuntulan
dance, originating from the Banyuwangi tradition.
Dance lessons for deaf children at the Pesona Blambangan
Dance Studio involve five students aged 17-25 years. Qualitative methods of
observation, interviews and documentation. In each observation, the data
obtained by the researcher will be linked to two important things.
Participating in the activities that become research by observing the learning
of Kuntulan dance for the disabled (deaf) at the Pesona Dance Studio in
Blambangan Banyuwangi, the observation method is one one of the main data
collection techniques such as interview techniques, in
In every research, there must be a systematic, logical
and rational process of observation and recording according to what is observed
to obtain research data. Documentation can be done by recording videos and
photos during dance activities. Documentation is carried out to strengthen the
information and data. exists, so that the documentation data regarding learning
the art of Kuntulan dance for the disabled (deaf) at the Pesona Blambangan
Banyuwangi Dance Studio can be accounted for.
The results of the research became research by observing Kuntulan dance
learning
for the disabled (deaf) at the Pesona Dance
Studio Blambangan Banyuwangi
Kuntulan dance lessons for deaf students at the Pesona
Blambangan Dance Studio are developed by teachers according to their needs. The
teacher used the counting method because students could not hear music, and the
results of the dance expression abilities of students in the experimental class
showed better improvement compared to other students. The development of
Kuntulan dance learning is based on the results of observations of teacher
management during learning and student responses through questionnaires.
Kuntulan art reflects the combination of Islam and
Banyuwangi culture. One of the main difficulties faced is the fact that children
find it difficult to adapt movements to rhythm, especially for those who fall
into the category of profound hearing impairment. For those who still have
residual hearing or are moderately or mildly deaf, the learning process tends
to be easier. Kuntulan, as a traditional dance of the Banyuwangi people, uses
musical instruments such as the tambourine and kluncing, with accompanying
songs in the Osing language. The number of female dancers in this performance
reflects the uniqueness of this art.
for the disabled (deaf) at the Pesona Dance Studio
Blambangan Banyuwangi
Kuntulan dance lessons for deaf students at the Pesona
Blambangan Dance Studio are developed by teachers according to their needs. The
teacher used the counting method because students could not hear music, and the
results of the dance expression abilities of students in the experimental class
showed better improvement compared to other students. The development of
Kuntulan dance learning is based on the results of observations of teacher management
during learning and student responses through questionnaires.
Kuntulan art reflects the combination of Islam and
Banyuwangi culture. One of the main difficulties faced is the fact that
children find it difficult to adapt movements to rhythm, especially for those
who fall into the category of profound hearing impairment. For those who still
have residual hearing or are moderately or mildly deaf, the learning process
tends to be easier. Kuntulan, as a traditional dance of the Banyuwangi people,
uses musical instruments such as the tambourine and kluncing, with accompanying
songs in the Osing language. The number of female dancers in this performance
reflects the uniqueness of this art.
Keywords: learing, Egret dance,
Deaf, Dance studio