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This community service activity aims to boost the self-confidence of seventh-grade students at SMP Negeri 2 Taniwel Timur, West Seram Regency, many of whom struggle with speaking in public. The activity was conducted through an arts performance as part of the University of Pattimura’s Community Service Program (KKN). The process was divided into three simple stages: preparation (meetings with the school and selecting competitions such as public speaking, poetry reading, or solo singing), implementation (students performed for 2 hours while receiving praise and positive feedback), and evaluation (observing changes such as more confident eye contact and a louder voice). As a result, the students participated actively, and their hesitation decreased significantly due to hands-on practice and support from teachers and peers. The arts performance proved to be an easy and comprehensive way to help students become more confident and sociable.

This study was motivated by the lack of standardized and objective assessment instruments for the teaching of the Syofyani Minang Payung Dance at the junior high school level, resulting in an assessment process that remains largely subjective and fails to measure psychomotor, affective, and cultural aspects in a balanced manner. This study aims to design and test the validity and reliability of a performance assessment rubric for the Syofyani Minang Payung Dance in cultural arts education at SMP Negeri 1 Bukittinggi. The research method used is a mixed-methods approach with a sequential explanatory design. The research subjects consisted of three dance instructors serving as expert judges, one cultural arts teacher, and 33 junior high school students. The research instrument was a performance-based assessment rubric covering five competency indicators: basic movement techniques; alignment with musical rhythm and dynamics; expression and character interpretation; mastery of payung props and movement safety; and accuracy of floor patterns and group synchronization. Quantitative data analysis was conducted using IBM SPSS Statistics through the Corrected Item-Total Correlation validity test and Cronbach’s Alpha reliability test, while qualitative data was analyzed using descriptive-interpretive methods. The research results show that all indicators have validity scores above 0.30 and are therefore considered valid, and the Cronbach’s Alpha reliability score is above 0.70, indicating good internal consistency of the instrument. Furthermore, the interview results indicate that the rubric is considered relevant, clear, and aligned with the learning characteristics of Syofyani’s Minang Payung Dance at the junior high school level. Consequently, the developed assessment rubric is deemed suitable for use as an objective, standardized, and contextually appropriate assessment instrument for dance education rooted in local culture.

This study aims to describe the aesthetics of the performance form of the Lenggok Dance created by Ida Sulistyarini and Susiati, which has developed in Banyumas Regency. The Lenggok Dance is a creative dance work rooted in the local Banyumasan tradition and presents distinctive movement characteristics along with regional cultural values. This research uses Djelantik’s aesthetic theory with a qualitative method and a phenomenological approach. Data collection techniques include observation, interviews, and documentation. Data validity techniques employ triangulation of sources, techniques, and time. Data analysis is carried out by examining the aesthetic elements of the dance, which include form, content or substance, and presentation or performance contained in the show. The results of the study indicate that the aesthetics of the Lenggok Dance are reflected through the harmony between dynamic and flexible lenggeran movements and the rhythmic Banyumasan musical accompaniment, as well as visual support from makeup and costumes that strengthen the character of the dance. In addition, the Lenggok Dance contains aesthetic values that represent the cultural identity of Banyumas, particularly in the processing of movements and expressions that reflect flexibility, joy, and local wisdom. This study is expected to contribute to the development of dance studies, especially related to the aesthetics of regional creative dance, and to serve as a reference for the preservation and development of Banyumasan performing arts.

Martial arts training centers are essential facilities that support the technical, physical, and mental development of athletes. This study aims to identify the facility requirements and architectural design criteria for martial arts training centers in Surabaya. A qualitative descriptive method was employed, utilizing literature reviews, field observations, and interviews with relevant stakeholders. The findings indicate that the required facilities include a main training area, supporting spaces, and operational support facilities, all of which must be designed in accordance with the specific characteristics of each martial art discipline. Furthermore, the implementation of appropriate zoning systems and design criteria—such as flexibility, safety, comfort, and functional integration—plays a significant role in enhancing the effectiveness of the training environment. Properly designed facilities not only accommodate diverse training needs but also contribute to optimizing athlete performance. Therefore, a comprehensive architectural approach is necessary to ensure that martial arts training centers can function efficiently and sustainably in supporting long-term athlete development.

This study aims to analyze cash budget management at the Kuda Kepang Mas Bagong MSME located in Wates Hamlet, Cepogo Village, Boyolali Regency. This MSME focuses on traditional kuda kepang crafts that have economic and cultural value as a support for local performing arts. The method applied is a descriptive qualitative method with data collection techniques through observation and direct interviews with the business owner. The data reviewed includes the production process, production capacity, cost structure, selling price, revenue, and marketing system. The results of the study indicate that the Kuda Kepang Mas Bagong MSME has consistent market demand, especially for medium-sized kuda kepang products. However, production capacity limitations due to the use of one worker are a major obstacle in increasing business turnover. In addition, cash budget management is still carried out in a simple and unorganized manner, so the potential for liquidity control and financial planning has not reached an optimal level. This study concludes that developing a more organized cash budget and increasing production capacity can be a key strategy in improving the financial performance and sustainability of the Kuda Kepang Mas Bagong MSME.

This study aims to identify and describe the values of Islamic education embedded in the art of Rampak Barongan Dance performed by the Krido Turonggo Mudo Art Studio in Koya Barat Subdistrict, Jayapura City, as well as to analyze this artistic practice as a medium for character education and cultural da’wah within the community. This research employs a qualitative method with a descriptive approach, focusing on an in-depth understanding of the meanings and practices of Islamic values in artistic activities. Research data were collected through direct observation, in-depth interviews with the studio managers and members, and documentation related to the dance training and performance processes. The collected data were analyzed interactively through the stages of data reduction, data display, and conclusion drawing to obtain systematic and comprehensive results. The findings indicate that the Rampak Barongan Dance contains Islamic educational values, including faith (aqidah), sharia, morality (akhlak), and social values. These values are reflected in prayers before performances, the use of modest attire in accordance with Islamic sharia, sincerity in performance, social ethics, solidarity, and teamwork. The practice of training and performing the dance serves as a means of cultivating discipline, responsibility, respect for time, and functions as an effective medium of cultural da’wah by integrating artistic aesthetics with Islamic moral messages.

This research aims to analyze the adaptive role of a dance teacher in teaching the subject of music art at SMK Asta Mitra Purwodadi, as well as identifying the patterns of collaborative approaches and the implementation of the Deep Learning strategy in the learning process. This phenomenon attracts researchers due to the case of a teacher teaching cross-disciplinary subjects, although still within the domain of the arts. This study employs a qualitative method using observation, semi-structured interviews, and documentation techniques. The main subject of this research is Bu Evi, a dance teacher who also serves as the music art instructor. The research results indicate that the non-specialist teacher (with a dance background) successfully overcomes limitations in teaching music by performing a role transformation into a facilitator focusing on expression, rhythm, and performance. The implementation of Deep Learning is realized effectively through a kinesthetic approach, where abstract music concepts (such as tempo and dynamics) are translated through body movement exploration, which is proven to increase student enthusiasm and understanding. Furthermore, the teacher implements a strategic collaborative pattern with the music extracurricular teacher, where responsibilities are divided between aspects of expression/movement and the deepening of theory/vocal technique, ensuring talented students still receive adequate technical development. Assessment focuses on performative aspects (expression, tempo, teamwork, and self-confidence). This research concludes that the teacher's professionalism and pedagogical creativity are the main keys to bridging competency gaps, while simultaneously ensuring the achievement of the goals of the Merdeka Curriculum in shaping student character and 21st-century skills.

This study is motivated by the rapid development of digital technology, which has positioned social media as an essential tool for disseminating information and conducting promotion, including in the field of arts and culture. Sanggar Mahligai in Siak Regency, as an institution dedicated to preserving Malay traditional dance, utilizes social media to expand its informational reach, attract public interest, and maintain the existence of traditional arts amid modern lifestyle changes. This research aims to describe how social media is used as a medium for information dissemination and promotion by Sanggar Mahligai. The study employs a descriptive qualitative method through observation, interviews, and documentation involving the head of the sanggar, social media administrators, and followers of the sanggar’s social media accounts. The findings show that Instagram and TikTok serve as the main platforms for sharing information related to training schedules, performance activities, new member registration, and activity documentation. Visual content, the use of trending formats, and active interaction with the audience significantly increase public engagement and interest in the sanggar’s activities. These results indicate that social media plays an important role in strengthening the sanggar’s visibility, fostering two-way communication, and supporting the preservation of Malay cultural arts through consistent and strategic digital practices.  

Angklung is one of the traditional musical instruments originating from the Sundanese culture in West Java, Indonesia, and has been recognized as an Intangible Cultural Heritage by UNESCO since 2010. This research aims to analyze the functions, values, and development of angklung in West Java society. The study applies a qualitative descriptive approach through literature review, field observations, and interviews with cultural practitioners. The findings show that angklung plays an important role not only as a musical medium but also as a tool for social cohesion, educational development, and cultural identity preservation. Over time, angklung has experienced significant transformation in terms of performance, musical arrangements, and adaptation in modern contexts, such as tourism, creative industries, and international collaborations. However, challenges remain in maintaining authenticity amid commercialization and the declining interest of younger generations in traditional musical arts. This study highlights the need for continuous cultural education, community engagement, and government support to sustain angklung's legacy. The implications of this study contribute to cultural preservation strategies and provide insights into the sustainable development of traditional arts in the modern era.