Littérature scientifique sur le sujet « Mudra (Dance school) »

ABSTRAKPenelitian ini bertujuan untuk menganalisis strategi pengelolaan Mila Art Dance School, di mana Mila Art Dance School ini merupakan salah satu sanggar tari yang namanya cukup terkenal di Yogyakarta. Mila Art Dance School sendiri didirikan oleh salah satu seniman tari muda di Yogyakarta yaitu Mila Rosinta Totoatmojo. Mila Art Dance School berdiri pada tahun 2015 dan masih beroperasi hingga sekarang bahkan saat ini semakin banyak peminat untuk menjadi konsumen di Mila Art Dance School. Dalam kurun waktu 4 tahun, Mila Art Dance School bisa meluluskan 854 siswa. Metode yang digunakan pada penelitian kali ini adalah deskriptif kualitatif dengan teknik pengambilan data primer. Untuk mengoptimalkan stategi pengelolaan yang dapat membantu Mila Art Dance School lebih berkembang dan dapat terus bersaing dengan pangsa pasar lainnya maka, pada penelitian ini menggunakan teknik analisis SWOT (kekuatan, kelemahan, peluang, ancaman) untuk menganalisis faktor internal dan eksternal, agar Mila Art Dance School dapat meraih kesuksesan di masa mendatang. Dari hasil analisis SWOT, Mila Art Dance School saat ini menunjukkan pada posisi kuadran eksponsif sehingga diperlukan strategi yang berupa penggunaan setiap kekuatan untuk menghadapi setiap ancaman. Posisi tersebut mengarah pada strategi ST, di mana Mila Art Dance School harus menambah dan memperbanyak kelas tari sesuai dengan keinginan konsumen, menjaring staf pengajar agar dapat bekerja lebih kreatif dan inovatif sehingga konsumen dapat menumbuhkan keinginan untuk memulai karir di bidang tari, memperbaharui sistem pembelajaran, menambahkan beberapa fasilitas yang dapat menunjang proses pembelajaran, dan menawarkan kepada konsumen tentang jaringan yang luas di bidang tari. ABSTRACT This study aims to analyze the management strategy of Mila art dance school, where Mila art dance school is a dance studio whose name is quite well known in Yogyakarta. Mila art dance school itself was founded by one of the young dance artists in Yogyakarta, Mila Rosinta Totoatmojo. Mila art dance school was founded in 2015 and is still operating to this day, and even now there are more interested parties to become consumers at Mila art dance school. Within 4 years Mila art dance school could graduate 854 students. The method used in this research is qualitative descriptive with primary data collection techniques. To optimize the management strategy that can help Mila art dance school develop and can continue to compete with other market share, this study uses SWOT analysis techniques (strengths, weaknesses, opportunities, threats) to analyze internal and external factors of Mila art dance school to achieve success in the future. From the results of the analysis of S.W.O.T Mila art dance school currently shows an exponential quadrant position so it requires a strategy in the form of using each force to deal faithfully with threats. This position leads to the ST strategy where Mila art dance school must add and multiply dance classes by the wishes of consumers, recruit teaching staff to work more creatively and innovatively so that consumers can grow up to start a career in dance, renew the learning system, add several facilities which can support the learning process, and offer consumers a broad network of dance.

The research in this thesis whos motivated by the impact of mobile phone use on elementary school student’s social interactions. The aim this research is to find out the negative and positive impacts of using mobile phones for elementary school students 013 Muara Jalai and how to overcome these impacts. This study uses case study research. Data collection techniques are observation, interviews, documentation and field notes. The results of the study show that the use of mobile phones can provide results of observations and interviews for class IV at elementary school 013 Muara Jalai, so the accompanying problems are found, namely: the negative impact of using mobile phones on students' social interactions, the attitude of children to their friends imitating what is shown on mobile applicationsn, some there are children who dance, like those in the tik tok application, work from home is neglected.

Penelitian ini bertujuan agar 1) masyarakat mengenal Angguk Kipas 2) agar angguk kipas menjadi lebih menarik 3) agar Tari Kipas asri bisa menjadi bahan ajar di sekolah 4) agar Tari kipas asri mampu menjadi magnet generasi muda untuk berkarya. Metode penelitian yang digunakan adalah etnokoreologi, yaitu Etnokoreologi itu sendiri merupakan istilah yang masih sangat muda. Di Amerika istilah ini identik dengan dance ethnology. Sebelum ada istilah etnokoreologi, pertama-tama muncul istilah ethnochoreography atau etnokoreografi di awal tahun 1960-an. Hasil penelitian adalah Proses penciptaan karya tari Kipas Asri tentu mengalami berbagai permasalahan dan kendala yang dihadapi. Terkadang sesuatu yang telah direncanakan faktanya berbeda ketika berada di lapangan, salah satu contoh seperti kesepakatan jadwal latihan dengan pemusik, mengatur jadwal dengan pemusik tidak semudah yang direncanakan karena pemusik memiliki jadwal lain yang sama dengan jadwal latihan karya tari Kipas Aari. Banyak hal yang dialami dalam realisasi proses penciptaan yang justru lebih banyak mengajarkan tentang proses kerja kelompok dalam mencipta sebuah karya tari seperti mengatur emosi ketika para penari atau pemusik sedang bercanda gurau, atau terlambat saat datang latihan. Kata Kunci: Tari kipas asri, penciptaan, etnokoerologi KIPAS ARI DANCEThis study aims to 1) let people know Angguk Kipas 2) make Angguk Kipas more attractive 3) make Asri Fan Dance be one of the teaching material in school 4) make Asri Fan Dance become a magnet for young generations to perform. The research method used is ethochoreology, which it itself is a new term. In America this term is synonymous with dance ethnology. Before the term ethnocoreology, the term ethnochoreography or ethnocoreography first appeared in the early 1960s. The results of the study show that there are obstacles in the creation process of Kipas Asri dance. Sometimes, something that has been planned turned to be different when in the field, one of the examples is the agreement on a training schedule with musicians, arranging a schedule with musicians is not as easy as it seemed because musicians have other schedules that are similar to the Kipas Aari dance practice’s schedule. Many things are experienced in the realization of the creation process which actually teaches more about group work in creating a dance work such as controlling emotions when dancers or musicians are joking or late when coming to practice. Keywords: Kipas Ari dance, creation, ethnokoerology

The existence of the "Galombang Duo Baleh" Dance among the young generation of cultural heirs in Nagari Pitalah is in an alarming condition. It is clear that the lack of interest of the younger generation in learning and preserving the "Galombang Duo Baleh" Dance is because many other interesting things can be played from home without having to gather at the Sasaran. It is evident that Sasaran has begun to be abandoned as a forum for learning various things including silat and the "Galombang Duo Baleh" Dance as games and entertainment for village children in the past. The reasons mentioned above are inseparable from developments in science, technology and art. It is evident that the younger generation prefers online games which are accessed from their respective devices, watching entertainment from YouTube, to being busy in establishing social relations through social media such as TikTok, Instagram, Twitter, Facebook and other social media because they are more interesting. To overcome this, it is necessary to have a new innovation that can attract the interest of the younger generation in learning traditional dance so that it continues to live and develop in the life of the people who inherit it. The dance creation method uses the theory of the stages of creating dance works referring to Alma M Hawkins' theory of motion exploration, motion improvisation, motion composition and motion evaluation. The result of the creation of the development of the "Galombang Duo Baleh" Dance is the "Tatagok" Dance. "Tatagok" dance is a newly created dance that develops the basic movements of the "Galombang Duo Baleh" dance. Learning the "Tatagok" Dance means participating in learning the basics of the "Galombang Duo Baleh" Dance, because the movements of the "Tatagok" Dance come from the basic movements of the "Galombang Duo Baleh" Dance which are packaged in a new form by considering the knowledge of dance composition to make it look more attractive.Kata Kunci: preservation, traditional dance, creation dance. AbstrakEksistensi Tari Galombang Duo Baleh diantara generasi muda pewaris budaya di Nagari Pitalah berada dalam kondisi mengkhawatirkan. Terlihat jelas bahwa kurangnya minat generasi muda untuk mempelajari dan melestarikan Tari Galombang Duo Baleh karena banyak hal menarik lainnya bisa dimainkan dari rumah tanpa harus berkumpul di Sasaran. Terbukti bahwa Sasaran sudah mulai ditinggalkan sebagai wadah mempelajari berbagai hal termasuk silat dan gerak Tari Galombang Duo Baleh sebagai permainan dan hiburan anak nagari dahulunya. Penyebab hal yang disebutkan di atas tidak terlepas dari perkembangan ilmu pengetahuan, teknologi dan seni, terbukti bahwa generasi muda lebih menyukai permainan online yang diakses dari gawai masing-masing, menonton hiburan dari Youtube, hingga sibuk dalam menjalin hubungan sosial melalui media sosial seperti TikTok, Instagram, Twitter, Facebook dan media sosial lainnya karena lebih menarik. Untuk mengatasi hal demikian, maka perlu adanya sebuah inovasi baru yang bisa menarik minat generasi muda dalam mempelajari tari tradisional agar tetap hidup dan berkembang dalam kehidupan masyarakat pewarisnya. Metode penciptaan tari menggunakan teori Tahapan penciptaan karya tari merujuk teori Alma M Hawkins adalah eksplorasi gerak, improvisasi gerak, komposisi gerak dan evaluasi gerak, Hasil penciptaan pengembangan Tari Galombang Duo Baleh adalah Tari Tatagok. Tari Tatagok adalah tari kreasi baru pengembangan gerak dasar Tari Galombang Duo Baleh. Mempelajari Tari Tatagok, berarti ikut mempelajari pakem-pakem Tari Galombang Duo Baleh, sebab gerakan Tari Tatagok berasal dari gerak dasar Galombang Duo Baleh yang dikemas dalam bentuk baru dengan mempertimbangkan ilmu komposisi tari agar terlihat lebih menarik. Authors:Pamela Mikaresti : Universitas TerbukaHerlinda Mansyur : Universitas Negeri PadangElizar : Institut Seni Indonesia Padangpanjang References:Dewi, F. S. P. (2022). Konsep Perkembangan Kognitif Anak Usia Sekolah Dasar dalam Implementasi Pembelajaran Menurut Teori Jeas Piaget (Telaah Buku Teori Perkembangan Kognitif Jean Peaget). Lampung: UIN Raden Intan Lampung.Hajizar, H. (2022). “Pewarisan Tari”. Hasil Wawancara Pribadi: 23 April 2022, Padangpanjang.Hidayat, R. (2022). “Pewarisan Tari”. Hasil Wawancara Pribadi: 24 April 2022, Padangpanjang.Mikaresti, P., Mikaris, Y., & Tamara, C. (2020). Symbolic Meaning of Dance with Masks People’s Life from Muaro/Jambi District. In Proceeding International Conference on Malay Identity (Vol. 1, pp. 162-174).Mikaresti, P., & Mansyur, H. (2022, April). Creating an Indonesian Archipelago Creation Dance for Elementary School-Aged Children. In International Conference on Elementary Education (Vol. 4, No. 1, pp. 542-552).Przybylski, A. K., & Weinstein, N. (2017). A Large-Scale Test of the Goldilocks Hypothesis: Quantifying the Relations Between Digital-Screen Use and the Mental Well-Being of Adolescents. Psychological Science, 28(2), 204-215.Ramlan, P. M., Bahar, M., & Gunawan, I. (2018). Tari Skin Sebagai Identitas Kehidupan Masyarakat Kabupaten Merangin. Titian: Jurnal Ilmu Humaniora, 2(02), 253-268.Suharto, B. (1985). Komposisi Tari Sebuah Petunjuk Praktis. Yogyakarya: Ikalasti.Susanti, M., Erlinda, E., & Sastra, A. I. (2016). Estetika Main Bungo dalam Penyajian Galombang Duobaleh di Nagari Pitalah Kabupaten Tanah Datar. Bercadik: Jurnal Pengkajian dan Penciptaan Seni, 4(1), 13-28.Hadi, Y. S. (2014). Koreografi: Bentuk, Teknik, Isi. Yogyakarta: Cipta Media.

The research aim is to describe the integration of among systems in inclusive education at Taman Muda Ibu Pawiyatan Primary School Yogyakarta. This research utilized case study method with a qualitative approach. The data collection instruments were interview, observation, and documentation. The result indicates that among systems in inclusive education at Taman Muda Ibu Pawiyatan Primary School Yogyakarta is integrated into classroom and outing class learning activities. Among system in the classroom learning activity is integrated by teachers to not only provide material but also advise and habituation to students such as maintaining a good attitude to peers. Teachers apply the jigsaw method in learning, which is aimed to train regular students or students with special needs to implement the attitudes of being responsible, cooperative, and respecting other people’s opinions. Teachers do not demand students with special needs to compare their ability with regular children to achieve scores based on Minimum Criteria of Mastery Learning (or usually called Kriterai Ketuntasan Minimal/KKM). They open the opportunity to students, especially they who have special needs at inclusive school to train their independence without continuously depending on guardian. In the among the system of outing class learning, teachers apply three systems, which are karawitan (playing a java musical instrument), dance art, and scout.

Abstract: The art studio Apo Lagaan first appeared in Samarinda in 2007 and is still going on today. The Apo Lagaan art studio is an art studio that focuses on the traditional arts of the Bahau Dayak, especially the music of sape' karaang. This study aims to reveal the form of the Apo Lagaan Art Studio's role, the form of presentation of sape' karaang, and the meaning contained in the game. This study uses a qualitative method. The observation technique used includes the object of research and the determination of informants. The data collection techniques of this research include literature study, interviews, and documentation. The research data analysis technique is carried out by utilizing the data that has been found in the field. The results showed that the Apo Lagaan Art Studio had a role in the continuity of the sape' karaang in Samarinda City. The role of the Apo Lagaan Art Studio on the continuity of the sape' karaang in Samarinda City is carried out through studio activities related to activities, training, and performances of traditional Dayak Bahau music and dance. In addition, the Apo Lagaan art studio has also expanded its partnerships to several government agencies and schools to provide education to the general public about the importance of cultural preservation, especially by the younger generation. Abstrak: Sanggar seni Apo Lagaan pertama kali muncul di Samarinda pada tahun 2007 dan masih bertahan hingga saat ini. Sanggar seni Apo Lagaan merupakan sanggar seni yang berfokus pada bidang kesenian tradisi Dayak Bahau khususnya musik sape’ karaang. Penelitian ini bertujuan mengungkap bentuk peran Sanggar Seni Apo Lagaan dan bentuk penyajian sape’ karaang serta makna yang terkandung dalam permainannya. Penelitian ini menggunakan metode kualitatif. Teknik observasi yang digunakan meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data penelitian ini antara lain studi pustaka, wawancara, dan dokumentasi. Teknik analisis data penelitian dilakukan dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian menunjukkan bahwa sanggar seni Apo Lagaan memiliki peranan terhadap kontinuitas sape’ karaang di Kota Samarinda. Peranan Sanggar Seni Apo Lagaan terhadap kontinuitas sape’ karaang di Kota Samarinda dilakukan melalui aktivitas sanggar yang terkait dengan kegiatan, pelatihan, dan pementasan musik dan tari tradisi Dayak Bahau. Di samping itu, sanggar seni Apo Lagaan juga memperluas kemitraannya ke beberapa instansi pemerintah dan sekolah-sekolah guna untuk memberikan edukasi kepada masyarakat awam akan pentingnya pelestarian budaya terutama oleh generasi muda.

Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. 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This study uses a qualitative method. To collect data the researcher used interview techniques, direct field observation, documentation and questionnaires. Data were analyzed using Miles and Huberman methods, namely data reduction, display data, and verifying. While testing the validity of the data include credibility test, transferability testing, dependentbility testing and konfirmability testing. The results showed that at Taman Muda Ibu Pawiyatan Yogyakarta Primary School (1). Student interest in learning dance is supported on a variety of things: the situation of students who are already generally follow arts activities outside school, dance lessons is an intrakulikuler lesson, the learning process is being held at the open room gives a very good effect. (2). How teachers implement instructional dance is the main thing in student interest in learning dance, in addition to teachers provide interesting material for study by students, teachers also use the “Among” systems wich engage students to learn, with the fun atmosphere. (3) Constraints faced by teachers in dance learning in this case the medium of teaching such as audio media are not yet using the digital system. Location in teaching and learning of the dance lessons impact on the level of the students concentration. Selection of appropriate materials become an obstacle in the classroom because this is an inclusive school.Keywords : interest in learning, lessons, dance, Primary School

AbstrakSekolah bukan hanya tempat sekedar menuntut ilmu pada dimensi formal saja. Sekolah sebagai tempat untuk belajar, beraktualisasi, serta bersosialisasi sebagai bagian dari kebutuhan peserta didik. Jika sekolah hanya tempat untuk menuntut ilmu dan mendapat ijazah, maka persepsi tersebut kurang tepat. Banyak sekali kontribusi sekolah bagi generasi muda Indonesia. Segala aspek formal keilmuan mereka dapatkan di sekolah. Lebih dari itu, sekolah sebagai kawah candradimuka, atau lembaga pendidikan formal memiliki tugas penting dalam rangka menyiapkan generasi muda yang siap pakai. Sekolah juga sebagai wahana untuk mendidik para anak bangsa menjadi bertaqwa,terampil, berbudi pekerti luhur, cinta tanah air, serta sehat jasmani dan rohani. Penyelenggaraan bela negara di sekolah disadari atau tidak direalisasikan melalui pendidikan agama, pendidikan kewarganegaraan, upacara bendera, penyelenggaraan ibadah di sekolah, kegiatan ekstrakulikuler seperti Pramuka, PMR, Karawitan, seni tari, sebagai kegiatan yang sarat bermuatan pembentukan karakter, kepedulian kepada sesama, serta kecintaan kepada budaya asli nusantara. Tentunya sekolah telah menyelenggarakan kegiatan bermuatan bela negara sesuai dengan usia, fisik, psikhis, peserta didik. Kata kunci: Aktualisasi, Bela Negara, dan Sekolah AbstractSchool is not just a place to study science in the formal dimension only. School as a place to learn, actualize, and socialize as part of the needs of learners.If the school is just a place to study.and get a diploma, then the perception is less precise. Lots of school contribution for the young generation of Indonesia. All formal aspects of scholarship they get in school.Moreover, the school as a crater candradimuka, or formal educational institution has an important task in order to prepareyoung generation ready to use. The school is also a vehicle to educate the children of the nation to become devoted, skilled, virtuous noble character, love the homeland, andas well as physically and mentally healthy. The organization of state defense in schools is realized or not realized through religious education, civic education, ceremony of flag, organizing worship in schools, extracurricular activities such as Scouting, Youth Redcross, Karawitan, dance, as a loaded activitywhich is full of character formation, caring for others, and love for indigenous cultureindigenous culture of archipelago. Obviously the school has organized activities defending the state according to age, physical, psychological, learners.Keywords: Actualization, State Defense, and School

Masyarakat Bali dan kesenian merupakan hal yang tak terpisahkan dan saling terkait. Kesenian menempati ruang yang penting, khususnya dalam konteks ritual keagamaan. Dalam pelaksanaan upacara di Bali, dikatakan tidak akan lengkap dan selesai tanpa hadirnya kesenian, khususnya seni tari dan karawitan. Kini dengan perkembangan globalisasi dan teknologi, peminat kesenian dari generasi muda mulai mengalami penurunan. Hal tersebut dikarenakan gaya pola hidup yang berubah mengikuti sinetron di televisi, penggunaan media sosial dan internet yang berlebihan, serta adanya anggapan bahwa seni tari dan karwaitan adalah hal yang kuno. Dari hal tersebut, timbul kekhawatiran akan semakin terpinggirkannya kesenian Bali. Oleh sebab itu, perlu dilakukan usaha-usaha pelestarian kesenian, salah satunya lewat Program Kemitraan Masyarakat (PKM). Dalam kegiatan PKM ini terdapat dua mitra, yaitu Banjar Bongan Gede sebagai Mitra I dan SMK Saraswati 3 Tabanan sebagai Mitra II. Kedua mitra mengalami permasalahan yang sama, yaitu rendahnya animo anak-anak dan siswa yang mempelajari seni tari dan karawitan. Dari pertemuan dengan kedua mitra, ditemukan tiga masalah utama yaitu kurangnya animo dalam belajar berkesenian, yang berakibat pada kurangnya teknik tari dan karawitan, serta kurangnya referensi tari-tarian kreasi baru. Untuk mengatasi permasalahan tersebut akan ditawarkan solusi dengan melakukan presentasi seni yang interaktif dan menarik, workshop peningkatan teknik tari dan karawitan, serta pengajaran tari Selat Segara sebagai salah satu tari kreasi baru. Sasaran peserta PKM untuk mitra I adalah anak-anak berusia 12-15 tahun serta siswa-siswi yang memilih ekstrakurikuler tari dan tabuh untuk mitra II. Melalui solusi yang ditawarkan, didapatkan hasil meningkatnya animo anak-anak serta siswa dalam mempelajari kesenian, adanya peningkatan teknik tari dan karawitan, serta mampu menguasai tari Selat Segara dengan baik. Hasil dari pembinaan PKM ini didokumentasikan dalam bentuk DVD. Arts and society are two inseparable factors in the Balinese life. The existence of art plays a vital role, especially in the religious context. Ceremonies are not complete without the presence of art, especially karawitan (traditional Balinese music) and dance. Now, in the era of technology and globalization, younger generation are experiencing a decline in arts. This is due to the lifestyle patterns that change following soap operas on television, excessive use of social media and the internet, and the assumption that dance and music are old school. From this, concerns arise about the increasingly marginalized Balinese arts. To preserve the arts, there should be efforts to be done, one is through the Program Kemitraan Masyarakat (PKM). In this PKM activity there were two partners, namely Banjar Dinas Bongan Gede Banjar Partner I and SMK 3 Saraswati Tabanan as Partner II. Both partners experienced the same problems, namely the low interest in children and students studying dance and music. From meetings with the two partners, three main problems were found, namely the lack of interest in learning art, which resulted in a lack of dance and karawitan techniques, as well as a lack of reference to new dances. To overcome these problems, a solution will be offered by conducting interactive and interesting art presentations, dance and karawitan techniques improvement workshops, and teaching Selat Segara dance as one of the new dance creation. The target of PKM participants for partner I is children aged 12-15 years and students who choose dance and karawitan extracurricular for partner II. Through the solutions offered, the results are the increasing of interest of children and students in learning art, the improvement of dance and karawitan techniques, and being able to perform the Selat Segara dance. The results of this PKM are documented on DVD.Â