STAB Kertarajasa BSS SV- STAB Kertarajasa

= Introduction PP No. 55 Th. 2007 Pasal 42 explained that Sekolah Minggu Buddhis or Buddhist Sunday School is a religious non-formal education organized by the Buddhists. Buddhist Sunday School later BSS are routinely performed in Vihara or Cetya every Sunday. Sunday School is functioning as a complement or substitute for religious education in the formal education. Buddhist Sunday School aims to elaborate the saddha faith and bhakti of the students in order to improve their religious quality. This echoed by one of the parents of students of BSS Samaggi Viriya Unfortunately, in an interview, stressing the important role of Buddhist Sunday School for students, BSS is very important because of the Buddhist religion in public schools is still very poor. BSSs educational goals outlined in the curriculum, which includes study materials or materials such as paritamantra chantsincantations, dharmagita, Dharmapada, meditation, Jataka, history of Buddha Gotama, and the basic principal of Buddhism. Dharmagita material or Buddhist songs are closely related to the other lesson material further. Buddhist songs seem to be the main medium for delivery of other teaching of Buddhism materials, such as the importance of meditation, Dana, and Pancasila Buddhist, of which intended for young children. The song is an effective medium to convey a variety of subjects see Campbell, 2001 in this case the Dhamma, to the kids, because it is interesting so that students will not get bored and easier to absorb the values contained in it. Along with the development of technology and 393 the Buddhist community, learning Dhamma Buddhas teaching the song is now booming. However, many problems still hinder the potential development, such as the Buddhist view of the music, limited Buddhist songs that are according to the age of the students and the theme of the lesson, and the teacher mastery of music. These problems will be revealed through exploration of the syntax of Buddhist learning in BSS song at Samaggi Viriya, Malang, East Java. In addition, seeing the importance role of songs in the cultivation of Buddhist values, this paper will explore the process of learning how to sing for cultivating moral values in Samaggi Viriya Buddhist Sunday School. Literary Reviews and Methods Sastrapateja outlines values education as nurturing and cultivating values within the individual self. Mardimadja defines values education as an aid to students to realize and experience the values and place them integrally in hisher whole life Elmubarok, 2009: 12. Objective values in general education is to help learners to understand, realize, and having values and being able to put the integral in the life Maksudin, 2009. Those perspectives echoes UNESCO agenda that values education is at the core of education that aims to develop peace founded upon the intellectual and moral solidarity of humanity UNESCO, 2002. Values education is done in several steps, among others, 1 the inculcation approach, 2 cognitive moral development approach, 3 values analysis approach, 4 the values clarification approach, and 5 action learning approach Elmubarok, 2009: 61 -75. As explained by Superking, religious education programs tend to use the inculcation approach. This traditional approach is widely criticized as ignoring the children‟s right to choose freely their own value. Based on how a person receives values from the outside and internalize it within himherself, Karthwohl in Lubis, 2009: 19-21 describes the process of value creation that includes five steps: 1 receiving, 2 responding, 3 valuing, 4 organization, and 5 characterization. The first step is when a person active and sensitive in receiving stimulus and facing the phenomena, actively receptive, and selectively choose the phenomenon. The second step is when a person has begun to accept and actively respond to the stimulus in the form of a real response. Third step, a person is able to capture the stimulus based on the values. The fourth step, a person is starting to set of values that it receives from the outside to be organized arranged in himherself, so that the system becomes an integral part of himherself. Fifth step is marked by the dissatisfaction of someone to organize the values heshe believes in his life in a sustainable, steady and consistent so as not to be separated again with hismher personality. More specifically, relates to early childhood education, Permendiknas No. 58 Th. 2009 issued an indicator that is used to determine the effectiveness of values education in the formation of character, especially contained in the scope of the development of religious and morals values . Kusumawati 2013 discussed the role of children songs in shaping of their character, principally its nine pillars of characters values as declared in pasal 3 UU Sisdiknas, which are 1 loved God and His entire creation, 2 self-reliance and responsibility, 3 honesty trustworthy, wise, 4 respect and courtesy, 5 generous, helpful and mutual cooperation, 6 self-confident, creative, and hardworking, 7 leadership and just, 8 kind and humble, 9 tolerance, peaceful, and unity. Inserted moral values within the lyrics of children songs is an effective media to brought up children‟s psychological development as it is more easy to interpreted with their mind and also it bond more lasting in their memory. In addition, Kusumawati explains the characters of Children songs that is simple in its rhyme and rhythm, lyrics and melodies. Analysing those characters in some of children songs of AT Mahmud, 394 Ibu Sud, Pak Kasur, and her own composition, Kusumawati shows that children songs maight helpful in shaping and developing the character of children. Kusumawati also suggests the needs to redevelop and renew children songs that are in step with character education and its contemporary era. In her study Lestari 2012 shown that the effectiveness of singing, as a method of character education in children. The lyrics contain the words that contain a specific meaning that can be used to obtain suggestion, persuasion, and give advice. Methods of singing is considered more appropriate to convey a specific message to the student, compared to the usual lecture, because singing seem delighted and not boring. Use of the lyrics to stimulate children attitudes and social behavior also become one focus of research Purwadi 2013. Through song, children in their everyday life throughout the life of children can apply the message inherent in the lyrics. With singing, in addition to children become happy, children also benefits greatly from the message in the lyrics are sung. Purwadi research results also revealed that the process of learning through singing using two concepts, namely learning to sing and sing for learning, the simple way is to sing a song that will be taught. However, in his study Purwadi saw that the category of children song lyrics only be seen from the material, while less attention in terms of the notation. This is evident from the number of songs that are already common in using jumping intervals tone. Song learning methods in early childhood at SPS Pos PAUD of entire sub district of Godean become the research themes of Petir Bhawono Lalang, Heni Kusumawati, and Herwin Yogo Wicaksono 2012. The study reviewed the terms of its goals, materials, methods, and the learning process. The results showed that the singing role in assisting method for young children who needs special approach. Methods mentoring done by the teacher demonstrated the song as the teacher approached the child so that the child sing along by following the movement of the lips and follow the movement of teachers who have exemplified and the teacher then told them about the contents of a given learning materials. This study used a qualitative descriptive approach through observation, interviews, and documentation. Including participant observation as one of the writer here is also a teacher of Viriya Samaggi BSS. Interviews were conducted with parents, teachers, and music teachers at Samaggi Viriya BSS. Documentation is done in the routine implementation of the BSS and special event involving BSS. The focus of research is the Samaggi Viriya BSS located at Jl. Telaga Bodas A, No. 1, Yani, Malang, East Java. The main discussion of this paper is on the moral content of Buddhist songs for educating the children and its syntax of learning as practice in BSS of Samaggi Viriya Vihara Malang. Buddhist Education for Children ―There arose in me vision, knowledge, wisdom, understanding, and light,‖ Buddha declared on the night of his awakening. As stated by Bikkhu Bodhi 1998, ―Thus wisdom is the crown and pinnacle of the entire system of Buddhist education, and all the preliminary steps in a Buddhist educational system should be geared toward the flowering of this supreme virtue. It is with this step that education reaches completion, that it becomes illumination in the truest and deepest sense.‖ Transfomation of character is the main concern of Buddhist education. ―Since a person‟s character is molded by values, and values are conveyed by inspiring ideals, the first task to be faced bu Buddhist educators is to determine the ideals of their educational system. If we turn to be Buddha‟s discourses in search of the ideals proper to a Buddhist life, we find five qualities that Buddha often held up as the hallmarks of the model disciple,‖ Bikkhu Bodhi explained. These qualities are faith, virtue, generosity, learning, and wisdom as Bikkhu Bodhi clarified: 395 The entire system of Buddhist education must be rooted in faith saddha — faith in the Triple Gem, and above all in the Buddha as the Fully Enlightened One, the peerless teacher and supreme guide to right living and right understanding. Based on this faith, the students must be inspired to become accomplished in virtue sila by following the moral guidelines spelled out by the Five Precepts. They must come to know the precepts well, to understand the reasons for observing them, and to know how to apply them in the difficult circumstances of human life today. Most importantly, they should come to appreciate the positive virtues these precepts represent: kindness, honesty, purity, truthfulness, and mental sobriety. They must also acquire the spirit of generosity and self-sacrifice caga, so essential for overcoming selfishness, greed, and the narrow focus on self-advancement that dominates in present-day society. To strive to fulfill the ideal of generosity is to develop compassion and renunciation, qualities which sustained the Buddha throughout his entire career. It is to learn that cooperation is greater than competition, that self-sacrifice is more fulfilling than self-aggrandizement, and that our true welfare is to be achieved through harmony and good will rather than by exploiting and dominating others. The fourth and fifth virtues work closely together. By learning suta is meant a wide knowledge of the Buddhist texts which is to be acquired by extensive reading and persistent study. But mere learning is not sufficient. Knowledge only fulfills its proper purpose when it serves as a springboard for wisdom pañña, direct personal insight into the truth of the Dhamma. Of course, the higher wisdom that consummates the Noble Eightfold Path does not lie within the domain of the Dhamma school. This wisdom must be generated by methodical mental training in calm and insight, the two wings of Buddhist meditation. But Buddhist education can go far in laying the foundation for this wisdom by clarifying the principles that are to be penetrated by insight. In this task learning and wisdom are closely interwoven, the former providing a basis for the latter. Wisdom arises by systematically working the ideas and principles learned through study into the fabric of the mind, which requires deep reflection, intelligent discussion, and keen investigation. Buddhism teachs that the root of human suffering is ignorance and failure to understand the truth. Therefore, a Buddhist child must know the teachings given by the Buddha. To find out, they have to learn and experience it by themselves as Y.A. Thich Minch Chau in Y.A. Sumangalo Mahathera, 1990: v stated. Buddhism quest for self-respect, emphasizing the primacy of the wisdom of the mind and develop the power of reason. Buddha always taught by hold Ehipasiko principle, which means come and prove yourselves. A Buddhist is not asked to simply trust teachings received, but rather experience it by themselves. Therefore, one of the things emphasized in the methods of teaching Buddhism to children is the explanation of the teacher to best help the children understand the assigned material without having to force them to swallow Y.A. Thich Minch Chau in Y.A. Sumangalo Mahathera, 1990: vi. Furthermore, Y.A. Thich Minch Chau stated Do not try to make children believe anything for granted as one of the signs of things to avoid in teaching Buddhism. Other signs are not feeding the children with excessive Buddhism. Provides lessons and forcing children to memorize it will damage the minds of children because children need time to digest in Y.A. Sumangalo Mahathera, 1990: xiii. Buddhism gives a high enough stress on the intelligence and wisdom. So teach them to believe anything for granted on the Buddhas teachings are contrary to the spirit of real Buddhists. We know that children are easy to believe in something. Nonetheless, Dharma 396 teacher must foster and help brighten their trust so that they can see something in a way that makes more sense. In this case, the song is an important media as a medium of teaching Buddhism since the song is a simple, interesting, and fun to educate children to become true Buddhists, by internalizing the values of virtues in everyday life, such as community service, respect, and introduce subjects of meditation. In addition, the song also is an introduction or conditioning for kids to do something like perform worship puja bhakti. In general, BSS started and closed with worship. After all the kids assembled, usually sung the opening song began. A song titled Namaskara usually sung together as an introduction to pujabhakti . NAMASKARA Mari kita menghormati Sang Buddha Junjungan kita Guru Buddha amatlah berjasa Mengajarkan kita semua kebenaran. PROSTRATION Let us honor the Buddha Our lord Lord Buddha is very meritorious Teach us all truth. Because including main activities, the Namaskara song can be considered as a compulsory song of Samaggi Viriya BSS. In addition to the pujabhakti introductory song, they usually also sing the song of Meditation after pujabhakti . MEDITASI Tiap hari bermeditasi Untuk melatih konsentrasi Pikiran kembangkan cinta kasih Hati bersih jiwa bersih semua bersih . MEDITATION Every day meditation To practice concentration Mind develop love Heart Clean, soul clean, all clean In addition to the introductory and concluding pujabhakti song, the song titled Sekolah Minggu can also be regarded as an obligatory song of Samaggi Viriya BSS though not always sung every week. SEKOLAH MINGGU Hai kawan-kawan semua mari turut daku Ke sekolah minggu Buddhis pilihan kita Jangan ragu dan bimbang ayunkan langkahmu Buddha Dharma serta Sangha melindungimu Bersujud berbakti di depan Sang Buddha mengikuti jejak Dhamma-nya Jalan t‟lah ditunjukkan mari pergunakan Sila Samadhi dan Panna pedoman kita. SUNDAY SCHOOL Hi friends, comes join with me To Buddhist Sunday School, our preference Do not hesitate and falter your steps swing Buddha Dharma and Sangha protecting you Prostrate in front of the Buddha Dhamma follow in his footsteps The road has been demonstrated, lets step Sila Samadhi and Panna our guidelines. The special thing that distinguishes between puja bhakti general adult with BSS is the dhamma classes in each meeting. This dhamma class actually is a priority in every activity BSS, because the importance of instilling a sense of pride and belief in Buddha Dhamma from an early age. Dhamma classes teach children the Buddha teachings, such as Pancasila Buddhist, The three Protection, the Four Noble Truths, Understanding, Right Action, Right Livelihood, Right Effort, Right Mindfulness, Meditation, Law of Karma, Rebirth, sincerity, Meaning of Vesak, the Buddha„s life stories. Due to time constraints and limited treasury of Buddhist songs for kids, then not all of the provision of material along with the song. 397 The following Dana Paramita song is one of the songs of sincerity. This song is the most often sung in Samaggi Viriya BSS, because giving is a major Dhamma practice in daily life. Giving, do good, thats a major blessing Mangala Sutta: 6. Dana in Pali means the act of giving, generosity. Upasika Silasirini Lisa 2009 explains that the practice of giving is the foundation and seed for spiritual development, which is as upayaa efforts for self-liberation from defilements. The practice of giving itself is the first element of the three beneficial action pu [[akiriyavat hu, as the first element of four means that the benefit of other beings sangahavat hu and as the first element of the 10 parami perfection. Parami is the highest level of grandeur that must be developed by all who intend to attain to Buddhahood. DANA PARAMITA Marilah kita berdana untuk kepentingan Dhamma Smoga kita diberkahi oleh Buddha Maha Suci Berdanalah kita semua dengan hati ikhlas rela Semoga karma baik kita dirahmati Sang Triratna DANA PARAMITA Let us giving, for the sake of Dhamma May we be blessed by the Glorified Buddha Let us give with sincere hearts willingly Hopefully our good karma, blessed by the Three Jewels Another song about giving solicitation is Anak Baik. However, in SV BSS this song, not too often sung as only performed in accordance with the Dhamma class theme thematic. Instead using the command line, the song ―Anak Baik is instilling moral values to build a positive self-concept in children, that heshe is a child who is able to do good deeds.. ANAK YANG BAIK Anak yang baik tiap hari bangun pagi Tidaklah lupa hari minggu ke vihara Anak yang baik uang jajan tak dihabiskan S‟bagian disimpan sebagian didanakan Nanti kita jadi kaya bisa bangun pagoda yang indah bisa juga bangun vihara yang megah Nanti kita jadi kaya bisa bangun stupa raksasa Bangun candi paling besar di dunia GOOD CHILD Good childe every day wake up in the morning Not forgot, Sunday go to monastery Good child, pocket money, not spent Some are kept, some are gave away Well be rich and able to make the beautiful pagoda may also wake up the magnificent monastery Well be rich and able to make a giant stupa Creating the biggest temple in the world Selain berdana, dua unsur lain yang menjadi dasar seseorang melakukan tindakan- tindakan berjasa Punna -kiriya-vatthu adalah moralitas sila dan pengembangan mental samadhi . Pengenalan tentang nilai-nilai tersebut diberikan antara lain melalui lagu ―Catur Paramita‖. Paramita merupakan sifat-sifat ketuhanan yang merupakan akar dari perbuatan baik kusalakamma yang harus terus dikembangkan. CATUR PARAMITA Kawanku tahukah kamu apa artinya Catur Paramita Sifat nan luhur sifat nan mulia ada empat semua jumlahnya Kalau Metta cinta kasih Karuna kasih sayang Mudita itu simpati Upekkha hati seimbang CATUR PARAMITA My friends do you know what that Catur Paramita means The Sublime nature, the noble nature, there are four all numbers If it is love Metta, Karuna is compassion Mudita is sympathy, upekkha is delicately balanced heart 398 In addition, the song Pancasila contains Five Instructions of Life, which contains a prohibition for Buddhists, namely 1 do not kill, 2 not to steal, 3, not committed misconduct, 4 not being dishonest, 5 does not accept drinks and food can be intoxicating. Thus, Buddhist song not only provide direction on what to do as a Buddhist, but also what to avoid. The word promise in the lyrics of the song also makes this song not only gives knowledge about things to avoid a Buddhist, but also encourage them to commit to the goodness. That is, by not doing things that should be avoided for a Buddhist. Character education in Buddhism emphasizes action, not just the knowledge that students should keep in mind. From the knowledge of the goodness, the learning process should drive the kids to commit to goodness and ended up really doing good deeds. PANCASILA Pancasila landasan Buddhis Umat susila siswa Sang Buddha Dengan janji tidak membunuh Tidak Mencuri, tidak berjinah Tidak berdusta, tidak „kan mabuk Jalankan Pancasila PANCASILA Pancasila is Buddhist foundation Decency People the disciples of the Buddha Hold the promise not to kill Not Stealing, not fornication Not lying, not intoxicated Do Pancasila The formation of religious moral values in the form of orders and prohibitions is aiming to establish a childs character. Most prohibition forms commonly used for children is the imperative word do not as seen in the song ―Inilah Ajaran Buddha.‖ However, the form of prohibition using the word do not is now beginning to be avoided because the word was judged ineffective in changing behavior. The use of the word „do not‟ for the children, will have the opposite effect than what was expected, because the child does not know the word „do not.‟ Childs attention would be more focused on what is prohibited and the picture will motivate to do it, not avoid it. As in fact, the consideration of this matter is that the psychological development of children is still more to the cognitive than affective. Therefore, a songwriter needs to be more creative and positive in the lyrics of songs with regard to the development of child psychology. INILAH AJARAN BUDDHA Janganlah berbuat jahat, perbanyaklah perbuatan baik Sucikan hati dan pikiran Inilah ajaran Buddha Jangan ragu jangan bimbang, berpeganglah pada Dhamma-Nya Hati tenang tentram bahagia THIS IS BUDDHISM Do not do evil, multiply good deeds Purify the hearts and minds This is the teaching of Buddha Do not hesitate, do not worry, hold on to His Dhamma Hearts tranquil peaceful happy Planting Buddhist moral values also moved from the introduction of Buddhist symbols as seen in the song Buddhist Flag. This song is not only introduces the Buddhist flag as a unifying symbol of Buddhists, but rather emphasizes the deep religious significance of the flag colors as the soul of a Buddhist foundation, That color Buddhist flag emblem student life of the Buddha. The Buddhist flag was formed in color- aura color or light outward from the body of the Buddha when he attained sanctity under the Bodhi tree in Bodhgaya. Six Buddhist Flag Color or the Dvhaja Sadvarna means: 1 the blue color of the Buddhas hair symbolizes devotion or dedication; 2 Golden yellow color of the Buddha symbolizes wisdom; 3 The deep red color of the blood of the Buddha symbolized love; 4 The white 399 color of bones and teeth of the Buddha symbolized chastity 5 orange is the color taken from the color of the hands, feet and lips of the Buddha which symbolizes the spirit; 6 composite combined five colors symbolizing the five factors mentioned above. The actual meaning of the term Prabhasvara is shining very bright or brilliant http:www.samaggi- phala.or.idnaskah-dhammasejarah-dan-arti-bendera-buddhis-internasional . BENDERA BUDDHIS Gagah terpancang di angkasa melambai dan berkibar Megah terpampang warna bendera Buddhisku Biru artinya bhakti, kuning artinya bijaksana Merah artinya cinta kasih, putih artinya suci Jingga artinya semangat memupuk segala kebajikan Itulah warna bendera Buddhis lambang jiwa siswa Sang Buddha. BUDDHIST FLAG Dashing stuck in the sky waving and fluttering Plastered magnificent colors, my Buddhist flags Blue means bhakti, yellow means wise Red means love, white means holy Orange means to foster the spirit of all virtues That color Buddhist flag, the symbol of life, disciples of the Buddha. The song is also an effective medium, which is used by Samaggi Viriya BSS to introduce the meaning of Buddhist holy days such as Vaisak. Vaisak day is a day to commemorate the three greatest events in the life of the Buddha: Buddhas birth, the achievement of enlightenment, and the death of the Buddha. Usually, children of BSS are involved in the procession Vaisak celebrations, especially in their involvement in performing arts. Here is a song that is usually sung by children in the Vaisak commemoration. It appears that the song is more emphasis on the Vesak celebration and excitement of the special day rather than with the meaning of the three major events that lie behind it. It looks different from the song Hari Asadha that highlight the background celebration of Asadha day. This may be due Vaisak Day is interpreted as a feast and better known publicly while the more specific nature Asadha is to commemorate 3 important events : 1. Buddhas first sermon to the five ascetics at the Isipatana Deer Park. 2. First Bhikkhu Sangha is formed. 3. Completeness of Triratna Buddha, Dhamma, and Sangha. BERNYANYI LAGU WAISAK Tralalala tralilili mari kita semua bernyanyi Tralalala tralilili ayo kawan jangan bersedih Marilah bergembira nyanyikan lagu Waisak Marilah bergembira rayakan Waisak HARI WAISAK Hari ini aku bahagia kar‟na Waisak telah tiba Ayah dan bunda kasih hadiah sepatu baru yang istimewa Hari ini aku gembira teman-temanku datang ke rumah Bajunya baru semua untuk rayakan hari Waisak Waisak Waisak s‟lamat hari Waisak Waisak Waisak s‟lamat hari Waisak HARI PENUH BERKAH Ayolah kawan ayo kita gembira di hari Waisak hari yang penuh berkah Ayolah kawan ayo kita bersama satukan tangan kita SING SONG Vesak Tralalala tralilili lets all sing Tralalala tralilili let friends do not be sad Lets sing merry Vesak Lets rejoice celebrate Vesak Vesak Day Today Im happy cause Vesak has arrived Father and mother love special gift of new shoes Today Im glad my friends came to the house His clothes were all new to celebrate Vesak day Vesak Vesak Vesak day Rejoice Vesak Vesak Vesak day Rejoice DAY FULL OF BLESSING Come on friends lets excited at the blessed day of Vesak 400 panjatkan doa Sang Buddha hadir di tengah kita sucikan hati hilangkan dukkha Sang Buddha hadir dengan cinta kasih-Nya hatiku damai tenang dan bahagia. HARI ASADHA Marilah semua para umat Buddha Kita mengenang hari Asadha Di taman rusa Isipatana Buddha memberikan khotbah pertama Ialah Dhamma Cakkhappvattana Kepada lima orang pertapa Pada saatnya hari Asadha Marilah kita mengagungkan-Nya. Come on friends let us unite our hands together prayed a prayer The Buddha is present in our midst, purify the hearts, eliminate suffering The Buddha comes with his love, my heart tranquil and happy. DAY ASADHA Let all the Buddhists We remember the day Asadha At Deer Park Isipatana Buddha gave his first sermon Dhamma is Cakkhappvattana To the five ascetics In time the Asadha Let us glorify Him. In addition to the excitement of the celebration song that depicting Buddhist holy days, the Samaggi Viriya BSS also featured Buddhist childrens songs that are more commonly associated in cultivating the Buddhist character such as the song ―Malu dan Takut‖. This song is usually sung during the birthday celebration Samaggi Viriya vihara. MALU DAN TAKUT Jadi anak jangan pemalu apalagi malu-maluin Jadi anak jangan penakut apalagi suka nakut-nakutin Boleh malu kalau berbuat jahat boleh takut kalau berbuat salah Maka jadilah engkau anak yang baik sesudah besar jadi orang berguna SHAME AND FEAR Be a kid, do not shy, let alone embarrassing Be a kid, do not scared, let alone like nakut- nakutin You may be embarrassed if doing wicked, be afraid that if done wrong So be a good kid, when you grown up be a good man Thus, it appears that the Buddhist childrens song used in Samaggi Viriya BSS is to inculcate Buddhist moral values. This is done through the introduction of the concepts of introductory Buddhist and Buddhist practice and the meaning attached to them. Although there are some songs that have been developing a positive self-concept in childrens self, many songs are less stimulating children creativity and positive attitude. It looks at the still frequent use of the order words, which is to dictate such as the word do not in the lyrics of the songs. Music can enrich the experience of flavor that can be increase the sense of humanity such as empathy and compassion. Planting values such as compassion and empathy in BSS songs seems still rooted in religious concepts, and it seems not enough to propose the universal values of humanity. The Syntax of Learning of Samaggi Viriya Vihara Sunday School Planning Phase Application of learning through the medium of song performed situationally. Dhammagita Buddhist song adjusting with weekly themes that will be presented. Weekly theme adapted Rencana Kegiatan Program Kerja Tahunan Penyuluh Agama Buddha Provinsi Jawa Timur. Plan activities that include extension materials, place and target extension community such as children, along with its execution time. Extension materials consisted of Living Buddha history, in cultivating love to the environment, the benefits of attending to the 401 temple, sharing of merits to the ancestors, the feast of Buddhism, Pancasila and Pancadhamma, all kinds of giving, kamma, four virtues, four noble truths, bhavana, and religious harmony. In addition to adjusting to the theme song and the form of Buddhist practice that held every week, another thing that most took a more attention is the suitability of the song with age of the child. Samaggi Viriya BSS is divided into two: big class and small class. Small class consist of children Play Ground, kindergarten and maximum 3-grade elementary school. Students of Big class are children of 4th grade elementary school and junior high. While high school students are usually no longer participate BSS, having followed the adult worship service. For a small class pursued a song whose lyrics are not too long and the language are easy to understand. While for Big class, it can be given lengthy song lyrics and contain lots of Pali. Implementation Samaggi Viriya BSS held every Sunday began at 9 AM. Activities begin with Pujabakti, meditation, and continued with giving practice for 30 minutes. Then dhammadesana dhamma story runs about 30 minutes, while the game and the song received the big st portion of time, which is 60 minutes. Dhammagita that must be sung entitled Namaskara as an introduction to start pujabhakti and the song Mari Berdana to start giving practice activities. In introducing the song to the students, the teachers initially play the MP3 song on their mobile phone or laptop so they all can hear it. However, if the instructor or teacher does not have a MP3 file they will immediately sing the lyrics and then ask them to memorized together and later sung it together. After all the students memorized the songs, the song that will be displayed in an event will be composed and accompanied by organ, piano, guitar or violin or other musical instruments. In addition to the material presented in the framework of the provision of BSS, the song was also prepared in the framework of the activities organized by the Samaggi Viriya Vihara, among other Chinese New Year, talk shows, social events, birthday monasteries and Buddhist commemoration feast. Thus, children often get the chance to perform on stage. These conditions motivate teachers and students to memorize some of the songs to be able to perform in the event. Students trained at least one month before the H day. For a big class, the Buddhist songs played with the soprano recorder or lipsing flute. Numbers of BSS students are mastering musical instruments and the present of musical instruments such as the organ at the vihara has become the support for the implementation of learning a song in Samaggi Viriya BSS. BSS Samaggi Viriya is held on the ground floor of the vihara building, while at the same time, usually, the upper floor is used for adults‟ pujabhakti. So, when the game or the class subject matter is on progress, the song will be stopped airing. It is intended that childrens attention not diverted to listen to the song. Moreover, the music can disrupt the passage of adult pujabhakti upstairs. This limitations of space and circumstance indeed inhibit the activity of a child in a loud voice. Students of big class sometimes embarrassed to sing so usually they just dare to play music in a soft tones. Other inhibiting factor is the minimal number of Buddhist Songs Cihldren the instructor is required to create their own songs for children if required. Therefore, the SV-BSS Trustee still need materials on Buddhist innovative teaching methods to be able to incorporate the values of Buddhism. Trustees expect a few new songs that fit with the children class category, each time of training innovative learning methods is conducted. 402 Evaluation The learning process with this Dhamagita received very positive feedback from students. In addition to feeling happy, they are easier to memorize the core Buddhas teachings through song described by the instructors in the weekly theme. At the time of evaluation of learning, children are asked to come forward one by one to sing the song. For those who have memorized have the opportunity to earn points, which can then be exchanged for prizes. Students who have not memorized, will be guided or trained by the senior instructors or friends who had memorized. Conclusion Indeed, BSS songs has looked effective as a medium of expression religious feeling such as that is one of the functions of music as presented Edwin J. Stringham in Swanson, 1974: 4-5. As stated by Stringham, At the same time the music has become an art that arouses the feeling even when it is unrelated to another immediate experience. However, given the buddhist preaching style, which Identics with buddhist principles of Pancasila, which is familiar with the command word do not will require more creativity, so songs of Buddhist children can better provide positive effects. Therefore, a Buddhist songwriter needs to be more creative and positive in arranges their lyrics of songs with regard to the development of a childs psychological effectiveness and reflexivity, not just emphasis on its cognitive that makes them only fluent in memorizing the Buddhist teachings. In terms of learning the syntax development of BSS, we should bear greater involvement of the Dirjen Bimas Buddha in order to improve the skill and knowledge of the instructors and their BSS managerial system for the Trustees, who are mostly from the community foundations. It should be emphasized that those involved in this BSS still accidental, in fact not a lot of its instructors who really obtain special education on early childhood. Learning the development of early childhood education especially from the Muslim and Christian communities‟ can be a mirror for the future development of BSS education, along with the increasing need of BSS for Indonesian Buddhist community in the future. This research is based on the case of BSS in Theravada Sangha community of Indonesia STI Malang, comparative study in more depth in another BSS outside STI in Malang and even Indonesia should be done in order to give a great contribution to the development of BSS forward for Buddhists in Indonesia. ---- Bibliographies Bhawono, Lalang, Heni Kusumawati, and Herwin Yogo Wicaksono. 2012. ―Metode Pembelajaran Lagu Anak pada Anak Usia Dini di SPS Pos PAUD Sekecamatan Godean‖. Jurnal UNY - Pend. Seni Musik - S1 - Vol. 1 No. 2. Bodhi. 1998.―Aims of Buddhist Education‖ at http:www.accesstoinsight.orglibauthorsbodhibps-essay_35.html. Accesed 22 October 2014. Campbell, Don. 2001. Efek Mozart “Memanfaatkan Kekuatan Musik untuk Mempertajam Pikiran, Meningkatkan Kreativitas, dan Menyehatkan Tubuh”. Jakarta: Gramedia Pustaka Utama. Elmubarok, Zaim. 2009. Membumikan Values education: Mengumpulkan yang Terserak, Menyambung yang Terputus, dan Menyatukan yang Tercerai. Bandung: Alfabeta. Kusumawati, Heni. 2013. ―Pendidikan Karakter Melalui Lagu Anak-Anak‖. Jurnal Imaji . 403 Lestari, Rini. 2012. ―Nyanyian Sebagai Metode Pendidikan Karakter pada Anak‖. Makalah Seminar Nasional Psikologi Islami: Aplikasi Psikologi Islami dalam Pendidikan Karakter. Fakultas Psikologi Universitas Muhammadiyah Surakarta, 21 April. Lisa. ―Pindapata‖. 2 009. Dalam Williy Yandi Wijaya Ed.. Dhamma Dana Para Dhammaduta. Yogyakarta: Vidyāsenā Production Vihāra Vidyāloka. Lubis, Mawardi. 2009. Evaluasi Values education: Perkembangan Moral Keagamaan Mahasiswa PTAIN. Yogyakarta: Pustaka Pelajar dan STAIN Bengkulu. Maksudin. Values education Komprehensif: Teori dan Praktik . Yogyakarta: UNY Press. 2009. MBM, Wieguan. Gitanada. LPUB Dhammadina. Purwadi. 2013. ―Pembelajaran Melalui Bernyanyi untuk Menstimulasi Sikap dan Perilaku Musikal Anak pada Pusat Unggulan PAUD Taman Belia Candi Semarang.‖ Catharsis 2 1. Samaggi Phala. ―Sejarah Bendera Buddhis Internasional dan Arti Warna Bendera‖. http:www.samaggi-phala.or.idnaskah-dhammasejarah-dan-arti-bendera-buddhis- internasional . Accesed 19 October 2014. Sumangalo. 1990. Buddhadharma untuk Anak . E. Suwarnasanti translator.. Bandung: Pustaka Karaniya. Swanson, Bessie R. 1974. Music in the Education of Children . Belmont, Calif.: Wadsworth Pub. Co. UNESCO. 2002. Learning to be: A holistic and integrated approach to values education for human development: Core values and the valuing process for developing innovative practices for values education toward international understanding and a culture of peace. Bangkok: UNESCO Asia and Pacific Regional Bureau for Education,UNESCO- APNIEVE Sourcebook, No. 2. Wawa. ―Hindari Penggunaan Kata „Jangan‟ kepada Anak‖. http:female.kompas.comread2010030921534288hindari.penggunaan.kata.jangan.k epada.anak. Accesed 20 October 2014. ∞ Latifah graduated with a B.A. from the Faculty of Cultural Sciences at Gadjah Mada University, Yogyakarta, and an M.A. in Asian Studies from the from University of Hawai„i at Mānoa. In addition, she studied a year at the Center for Cultural and Religious Studies CRCS at Gadjah Mada University. Since 2001, she has worked as an editor and a journalist contributor. Since 2012, she has taught at Kertarajasa Buddhist College, Malang, East Java, Indonesia. She is a also a researcher at the Center for Culture and Frontiers Studies CCFS of Brawijaya University. Her research interests include gender, culture, and religion. Ary Budiyanto is lecturer at Fakultas Ilmu Budaya, University of Brawijaya, Malang, Indonesia. Born in Kudus in 1972, he received an M.A. in Religion and Cultural Studies at the Center for Religious and Cultural Studies, Gadjah Mada University, Yogyakarta. He is a co- founder, secretary, and researcher at the Center for Culture and Frontiers Studies CCFS at Brawijaya University. He is interested in the issues of religions and cross-cultural studies, especially as related to Indonesia, Java, Islam, Buddhism and modernity in the field of visual, culinary, and material culture. Metta Puspita Dewi. Graduated from STAB Kertarajasa and recieved her Master degree from Malang State University UM, major in Education Management. She is currently active as Teacher of Sunday School at Samaggi Viriya Vihara Malang. 404 PSYCHOEDUCATIONAL PROGRAM TO INCREASE PARENT AWARENESS ABOUT THE BENEFITS OF STORYTELLING FOR OPTIMIZATION THE DEVELOPMENT OF PRESCHOOL CHILDREN Laila Qodariah Faculty of Psychology Universitas Padjadjaran 1 Poeti Joefiani Faculty of Psychology Universitas Padjadjaran Anggit Sukma Faculty of Psychology Universitas Padjadjaran ABSTRACT Referring to the phenomenon of parents who work, storytelling activities become very rare opportunity for the child. In the era of digital technology has become a challenge, when parents choose digital technologies to provide entertainment for their children. Actually storytelling has countless benefits for children in all psychological aspect. Based on the preliminary study of 32 parents in Bandung only 31 of parents who tell stories to their children every day, 13 of parents almost never tell stories to their children. Parents essentially have knowledge about storytelling activities. However, as many as 16 of parents still do not know how to tell stories effectively. From this preliminary study, we designed a psychoeducational program called Festival Dongeng Bandung 2014. Through seminars, discussions, and workshops, this program succeed to increase of parent knowledge and awareness about the benefits of storytelling for the optimization of child development. Most of the participants reported getting new information 71 of these psychoeducation. The material is informative, applicable, and interesting. Most of the participants 92 reported that all keynote speakers was mastery, clarity, and understandable. All participant reported that they would apply the information from this activity to their children and make a variety of plans to implement them. Overall, this program gives a good impact to educate the public about storytelling. Keywords :, Storytelling, Psychoeducation, Preschool Children INTRODUCTION Starting from the complaints of parents, teachers, and educators about the difficulty of communicating to the pre-school age children inspires us to create a program that can increase the awareness of the parents that there is a powerful way to communicate with children is through storytelling. Referring to the phenomenon of parents who work, storytelling activities become very rare opportunity for the child. In the era of digital technology has become a challenge, when parents choose digital technologies to provide entertainment for their children. Because it is so easy, practical, and does not require a long time to interact with their children. Whereas the pre-school is a Golden Age phase in which the children becomes very sensitive to the information of the environment. Children‟s cognitive world is full of freedom, creativity, and imagination Santrock, 2011. Actually storytelling has countless benefits, which enhance their critical thinking, stimulate imagination and creativity, improve language skills, concentration, to train children associative thinking, encourage interest in reading, build character, help children understand the social values, and exciting entertainment for children. In addition, tell stories to children by parents can also help improve the attachment and communication between parents and children. Storytelling can be a bridge of interaction 1 Email: laila.qodariahgmail.com 405 between children and parents that sometimes difficult because of differences in mindset Yudha, 2009; Eder Hylan, 2010. Based on this phenomenon, we interested in conducting a preliminary study of 32 parents in Bandung to see how their knowledge, interest, and awareness about the importance of storytelling for pre-school age children. The survey was conducted through open-ended questions related to the knowledge and interests of parents towards storytelling. Sampling technique is done through snowball sampling. Based on the obtained results of the preliminary study only 30 of parents who tell stories to their children every day, 50 parents tells story irregularly and 20 of parents never tell stories to their children. Parents who tell stories to their children said that children show a positive attitude towards storytelling as enthusiastic, responding to, and look happy while listening to stories. They feel the benefits of storytelling for their children, such as increasing the parents and children attachment, can easily convey a meaningful message, to train children to express their emotions, as well as to train the child to communicate. Parents essentially have knowledge about storytelling activities. However, as many as 16 of parents still do not know how to tell stories effectively for their children, as wee can see on the chart below : Figure 1. Column Chart of the preliminary study of parental knowledge about the techniques of storytelling for children Storytelling is a fictional story that has many benefits for children. Children can be introduced to a variety of situations beyond their experience. Children are introduced to a way of thinking, perspectives, and how to behave. Teaching stories have existed in both written and oral form. Rather than think of these as two parts of a dichotomy or even as two distinct categories, Deborah Tannen 1992 prefers to think of a continuum with meaning derived solely from text on one end and meaning derived solely from the storytelling environment on the other end. Chamberliin 2000 said that the false separation of oral and written traditions is ―like separating the worthy and the worthless‖ Eder Hylan, 2010. Kieran Egan 1987 believes it is time to see ―orality as an energetic and distinct set of ways of learning and communicating, not simply as an incomplete or imperfect use of the mind awaiting the invention of literacy‖. Egan believes they could be a powerful mode of communication in education today. Oral stories entail a set of powerful and effective mental strategies to fix 406 patterns of meaning in the memory. These stories carry a charge of emotion that greatly enhances the likelihood of retaining the meanings, since memorable events tend to be those associated with strong emotions. Thus, whatever messages children choose to receive will likely stay with them longer than if the messages were received through written stories Eder Hylan, 2010. Many parents assume storytelling just a bunch of bedtime story for children. Moreover for working parents who daily busy with office work, storytelling activities become very rare opportunity. In the era of digital technology has become a challenge, when children are more interested in electronic devices than books and other activities. Meanwhile, parents who know the benefits of storytelling, do not know how effective storytelling for their children. This also makes them become discouraged to regularly read stories and then again rely on digital technology as a medium of entertainment for their children. Theres no denying that storytelling requires difficult techniques. To consider a variety of things such as the type of story, story content appropriate to the childs age, circumstances, various tools are needed, as well as the duration of storytelling adjusted to the childs ability to concentrate. Seeing the importance of storytelling for optimizing the development of preschool children and the phenomenon that parents do not routinely tell stories to their own children, even more rely on digital technology to entertain children without any interaction between parents and children, making researchers driven to create programs that can increase the awareness of parents about the importance of storytelling for children. In addition, the program can also help parents recognize and practice on how storytelling is effective for their children, especially for pre-school age children. There are some example programs about storytelling for teacher and student. For instance, Lynn Rubright, a professor and storyteller in St. Louis, reported her Project TELL Teaching English through Living Language. The purpose of the project was to demonstrate how storytelling and other arts can serve as pivotal approaches to teach reading and writing, and it resulted in training and transforming students and teachers. She listed some of the basic agreements among teachers who have used storytelling in their classes. Here are just a few examples: 1 the more teachers and their students open themselves to playful experimentation with stories, the more possibilities there are for varieties of renderings to unfold; 2 through storytelling workshops, teachers recognize and experience their own potential as skilled storytellers, and by modeling storytelling in their classrooms, they enable their students to become more effective storytellers, too; 3 storytelling, combined with dramatic play, allows children to try on many roles, helping them develop their ability to empathize, increasing understanding of those different from them; 4 teachers are often surprised at the insights children reveal as they ponder the complex meanings of fables, folktales, and other literature they have heard or read; 5 children tell stories they often reveal gifts and talents that have gone undiscovered with traditional approaches to learning; 6 storytelling offers many children an opportunity to develop skills and excel in oral expression, gaining respect that they had not experienced before from peers Zipes, 2004. Jack Zipes 2004 have taught various courses on storytelling attended by teachers in k-12 education, professional storytellers, actors, and university students from 1995 to the present. Initially, the first course, which was held for about three to four hours every day for two weeks, was offered through the University of Minnesota to interest a general public of students in storytelling. The course description, which has constantly changed during the past seven years, read as follows: This course examines how storytelling and creative drama can be used as tools in developing students‟ critical literacy, and in making students more fluent readers and writers. Storytelling is a unique blend of performance, literature, and folklore. It 407 engages personal and cultural identities, and it promotes creative thinking. Critical literacy is the ability to analyze the presentation of information and identify how the presentation influences listeners‟ and readers‟ understanding of the information. Writing, performing, and analyzing narratives are therefore powerful means of developing critical literacy. The purpose of the seminar is outlined as follows: to provide teachers and storytellers with some historical knowledge and a critical view of fairy tales and other folklore genres so that they can work with the tales in different ways to animate their students to become their own storytellers; that is, to develop their own creative and critical skills Zipes, 2004. Donna Eder 2010 chose to study ch ildren‟s ethical explorations through storytelling because she believe we need to approach ethical concerns related to youth in a proactive manner. She tried to address problems of bullying and ridicules in schools through a conflict intervention program called KACTIS Kids Against Cruel Treatment in Schools. She began to see that it is not enough to offer programs that prepare children for conflict and bullying. Other forms of social and ethical education are needed. Her first storytelling sessions for this study were with two groups of fourth- and fifth-grade students in a school in the Midwestern United States. She was convinced of the importance of discovering the meanings that children interpret in a story rather than focusing on the meanings that adults intend for them to receive. In her approach to ethical education, it is crucial that we, as adults, allow children‟s own meanings to be expressed and that we respect their meanings. This will, in turn, foster children‟s own ethical development and those of the adults around them Eder Hylan, 2010. Rob Allen and Nina Krebs 2007 trying to combine drama, psychology, and storytelling, it‟s called Dramatic Psychological Storytelling DPS. DPS presents a flexible seven-step model for insight and change. Anchored by Expressive Art and the action method, Psychotheatrics, DPS combines drama expression through seven different Expressive Art types, with psychology experiences of the individual and the collective, and storytelling the content, the expression of an experience or situation. DPS creates a visual phenomenological, intersubjective framework as it depicts challenges, strategies and outcomes, whilst developing a dynamic storybook. The DPS process offers Access to personal or group dynamics that are usually not forth- coming by employing an action method based on Storytelling and Dramatic Enactment of the Expressive Arts; Psychological protection for those involved and the enhancement of self-esteem through the detached witness approach; Cooperation and team building among people in conflict; By allowing 3D dynamics, it becomes possible to see how it is in others‟ shoes; Perspective on self and interpersonal relationships through the detached witness and by „the other‟ approach. • Fun in discovery and observational learning. • Life experience with minimal risk to explore psychological insights through behaviouralcognitiveaffective rehe arsal. • Personal, interpersonal and mythic connections. This is the very foundation of storytelling, drama and sacred psychology and the underlying structure of DPS Allen Krebs, 2007. From this preliminary study, researcher designed a psychoeducation program to increase of parent awareness about the benefits of storytelling for the optimization of child development, especially preschool children. The program called Festival Dongeng Bandung 2014 and it was carried out in cooperation with Study Group Diagonal community. This program also involves about 18 communities and storyteller in Bandung who care about the education and development of children. Through seminars, discussions, and workshops, parents are expected to have knowledge about the benefits of storytelling level cognitive 1+2-knowledge and comprehension. They also be able to practice the techniques of storytelling for children, especially for pre-school children level cognitive 3 – application. 408 Parents can watch the storyteller tells the story in very interesting way, so it‟s can inspire them to apply at home. Parents were also invited to direct practice and learn various media storytelling. From this program, we hope parents or participant have awareness to applied this knowledge from the program for their children at home Level Affective 1 – Awareness Sprinthall Sprinthall, 1990 . METHODS The method chosen to deliver the materials to the parents is psychoeducation. Psychoeducational interventions encompass a broad range of activities that combine education and other activities such as counseling and supportive interventions. Psychoeducational interventions may be delivered individually or in groups and may be tailored or standardized. The purpose of this activity is to prevent psychological problems and to promote mental health Lukens McFarlane, 2004. Basically a training process similar to the process of learning, where the training is a way to learn, get used to, or teach someone to become know, familiar, or skillful about something that is learned, both in the scope of cognitive, affective, and psychomotor as we can see in figure 3 Kohls Brussow, 1995. The process in developing the program includes 3 phases, Phase I Preparation which consists of a needs assessment and program design and Phase II Development which consists of the trial of the program, while phase III Improvement covers the implementation, results, and evaluation activities, Kohls Brussow, 1995, as we can see in Figure 2. Figure 2. The process in developing the program 409 PSYCHOEDUCATION LEVEL : AFECTIVE A1 - Ketergugahan METHOD: Storytelling Class Exercise OBJECTIVE : Parents can watch the storyteller tells the story in very interesting way, so it‟s can inspire them to apply at home LEVEL : COGNITIVE C1 + C2 – Knowledge and Comprehension METHOD : Seminar and Discussion TOPIC : the benefits of storytelling LEVEL : COGNITIVE C3 - Application METHOD: Workshop TOPIC: Storytelling Technique LEVEL : COGNITIVE C2 - Application METHOD: Workshop TOPIC: Stimulation activities after storytelling LEVEL : COGNITIVE C2 - Application METHOD: Workshop TOPIC: Various media and property for Storytelling Figure 3. The frame work of the learning process GOAL 1. Participants learn about the benefits of storytelling to optimize child development 2. Participants learn about the application of simple storytelling techniques, stimulation after the storytelling, and the property and media storytelling 3. Participants have the awareness to apply storytelling to children at home. ACTUAL CONDITION - storytelling activities become very rare opportunity for the child - parents choose digital technologies to provide entertainment for their children 410 The following are the learning outcomes to be achieved through this program: Table 1. Learning Outcomes The program is open to the public in Bandung, therefore no special sampling techniques are used. The target participants for this program are the parents of pre-school age children, however, the program is also is open for public, especially for playgroup and kindergarten teachers as well as college students. Evaluation of the program will be carried out through one-way design techniques, in which participants will fill out a pre-posttest on the material presented, and then compared the results. Pre-posttest was conducted through open-ended questions related to the material presented. In addition to improvements in the future, parents who participated in this program SEMINAR AND DISCUSSION - Keynote Speaker: - Psychologist - Kindergarten Teacher - Parents - discussion - Participants know the benefits of storytelling - Participants know techniques and media storytelling in general - Participants have the awareness to apply the acquired knowledge to their children at home. - Participants have plans to apply his knowledge to their children at home WORKSHOP Storytelling Techniques - Keynote Speaker : Teacher and professional storyteller - Example read stories from the expert - Sharing of storytelling techniques - Role play - Discussion - Participants know a variety of storytelling techniques - Participants know the proper techniques of storytelling for children - WORKSHOP Stimulatio n Activities - Keynote Speaker : Professional artist and storyteller - The expert read the story - Participants to create illustrations - Role play - Discussion - Participants know some activities can be used as simulation activities after storytelling such as an illustration activity Participants know the benefits of stimulation activity after storytelling WORKSHOP Media for Storytelling - Keynote Speaker : Professional craftsmen and storyteller - The expert Introduce the types of supporting media for Storytelling - Role play : make storytelling supporting media: paper dolls, decorate wooden toys - Discussions - Participants know a variety of propertiessupporting media that can be used in storytelling - Participants know the benefits of the use of propertysupporting media in storytelling STORYTELLING CLASS - 20 storyteller perform - 3 parallel class - Children and their parents watch the storyteller - Participants gain knowledge about various ways of storytelling for children - Participants gain insight to imitate the style of storytelling expert storyteller at home 411 also evaluates the activities and provide suggestions for the development of this program, including material Interesting information, easy to understand, informative, and easy to apply, keynote speaker and the expert mastery, understandable, clarity, moderator ability to facilitate, management, and facilities rooms, audio, visual. The data will be analyzed using descriptive study techniques. Participants answer questions administered through open-ended questionnaires and Likert-type scale. After participants answer the questions, researchers describe the responses given. Open-ended questions allow for a greater variety of responses, the data must be coded or reduced in some manner and a likert-type scale is analyze statistically. RESULTS AND DISCUSSION The program was attended by 845 visitors, 68 participants attended the seminar, and 25 participants attended each workshop class, most of the other participants followed the storytelling classes in three parallel classes. Participants who attend seminars and workshops are dominated by women, as can be seen in the chart below: Figure 4. Demographic data of participants Participants in this program mostly students, teachers, and parents with diverse educational backgrounds and work as can be seen in the chart below: 412 Figure 5. Participants‟ Occupation Seminar and Discussions The seminar lasts for 70 minutes and followed by discussions for 50 minutes. There are three keynote speaker, psychologist, kindergarten teacher, and storyteller. The first sp eaker spoke about the benefits of storytelling for optimizing children‟s psychological aspects. The second speaker, as a teacher, he told how the use of storytelling in the learning process in the classroom. While the storyteller, sharing his experience in storytelling for all ages with a variety of media. The seminar activities are describe through the picture below : Figure 6. Seminar and Discussion Activities Source : Festival Bandung 2014 413 After following this program, most participants felt getting a lot information about storytelling, especially the benefits for their children. Only 3 of participants who reported not getting new information from these activities. In the pre-test evaluation about the benefit, most of the participants count heavily on childs cognitive development, such as developing imagination and creativity. After attending this program, participants reported that the benefits of storytelling is various, from cognitive, language, and social-emotional aspect, as shown in the following chart: Figure 7. Participants‟ knowledge about benefit of storytelling Jack Zipes 2004 believes that storytelling has, and always will have, two basic functions: 1 to enculturate by expressing the norms and customs of a groupculture in order to survive and, 2 to challenge and question the establishment, or dominant value system, with the intention of transforming and improving it. Storytelling is implicit drama; it is exciting. Story engages; it is demanding. It requires our attention. Great teachers and especially our friends use stories to reveal. We learn about values, expectations, and intimacy. Special bonds are created between a storyteller and listener, because stories connect us. Real storytelling requires dialogue and this leads to meaning, the essence of relationship, of existence. All the stories have commonalities. This is why they connect. They tell of triumphs, tragedies, heroes and villains, hope, love, betrayal. They weave an understanding that keeps us warm in chilly times, like the Grand Stories, or folktales of old. Stories help to teach discipline; fairytales, for example, have critical moral codas. Stories help us to handle difficult emotional experiences; they inspire and we try to emulate those we admire Allen Krebs, 2007. Participants knowledge increased also seen from the participants understanding of a given age in storytelling, 73 of participants revealed that the activity of storytelling can be given to all ages, not only for small children. This suggests that the participants were quite capable of understanding that storytelling activities submitted to various ages by adjusting the proper technique storytelling based on the characteristics of the age. Simple ways tto customize the stories include the following: Problem or strengths in the stories could more closely o the child‟s situation; Names, gender, and personal details of the character may be changed to allow for closer cultural identification with the character Slivinske Slivinske, 2011. 414 Participants also gained increased knowledge in the theme that can be used for pre- school age children, the participants revealed that the story of the animals fable can be easily understood by children aged 1-5 years. Through the stories of animals, storyteller can also convey values of life for children. From pre-test evaluation of the seminar, the participants opinion about stories is more on myth and legend. After the seminar, participants reveal other themes, such as fable, naure, and sains that are more suitable with characteristics of the pre- school children. Of all the types of teaching stories, animal tales are of particular interest because for thousands of years they have played a central role in revealing the basic values of a society. Animal teaching stories are one way to offer children opportunities for ethical exploration. Because animals lack a specific identity, stories about them can take many avenues that can lead to discussion on a variety of ethical issues. Animal characters give children a chance to address concerns that adults might not be aware of. In addition, whereas all children, regardless of their ethnicity or gender, can identify with an animal character. Fables for moral instruction of children became more prevalent in the medieval period when translators downplayed the humor of the fables and strengthened their moral tone through the use of a summary moral Eder Hylan, 2010. Form pre-test evaluation, participants knowledge on the supporting tools in storytelling, almost all participants expressed a book is a supporting tool that can be used for storytelling activities. After the seminar is given, 72 of participants expressed not only a book that can be used as a supporting tool. Various aspects such as voice, intonation, facial expressions, and props such as puppets or pictures can also be supporting the activity of storytelling. Figure 8. Participants‟ Knowledge about supporting tools for storytelling Participants gain an understanding that themes, supporting tool, and technique of storytelling activities should be tailored to the characteristics and the age of the child. When the storyteller can choose the right way to deliver, the benefits of storytelling can be achieved. Not only that, all participants 100 were shown a willingness and enthusiasm to start applying storytelling activities at home. Workshop and Storytelling Classes Workshop is divided into 3 classes parallel with the theme 1 stimulation activities; 2 storytelling techiniques; and 3 media support for storytelling. Workshop lasted for 90 minutes. For the first 15 minutes, the expert delivery of materials, role play 45 minutes and 30 415 minutes of discussion. Through the workshop, the participant is given the practical knowledge and can immediately put them into practice through role play. 1 Stimulation Activities Workshop Participants have learned from the seminar that the stimulation activities diverse such as singing, retelling the content and meaning of the story, question and answer or discussion with the child, and word play. Storytelling activities is not merely a bedtime activities for children. Otherwise, telling stories can be a medium for children to learn a lot of things. Storytelling and creative drama can be used as tools in developing students‟ critical literacy, and in making students more fluent readers and writers. Storytelling is a unique blend of performance, literature, and folklore. It engages personal and cultural identities, and it promotes creative thinking Zipes, 2004. Stimulation activities workshop are describe through this picture below : Figure 9. Stimulation activities workshop Source: Festival Bandung 2014 Through this workshop, 75 of participants stated that they became aware that illustrative activities can be one of the activities that have many uses stimulation for children. Step stimulation for children is as follows: 1 Parents telling stories for children; 2 Ask children to draw, coloring, or painting of what has been told; 3 Parents can help or together with the children create illustrations; 4 Illustration can be a character, a situation, or theme of the story; 5 discuss with the child about the content of the stories and illustrations that have been made by children, adapted to the issues that want to be stimulated. Stimulation activities should be given to the child, so the storytelling activities not only occur in one direction only. After attending the workshop, participants become more aware of the specific benefits of the activity after stimulation of telling stories, as in the following table: 416 Table 2. Participants‟ knowledge about the benefit of stimulation activities COGNITIVE  Stimulate the curiosity of children  Adding knowledge of children  Train childrens concentration and memory CREATIVITY  Brought imagination into illustrations  Expressing ideas and thoughts into images FINE MOTOR SKILL  Increase the fine motoric skills drawing SOCIO-EMOTIONAL  Being a fun entertainment for children • More parent-child interaction Stimulation activities after storytelling is a way of learning that is fun for children. If children learn in a fun way, children will feel more satisfied and feel confident. Fables can also invite children to explore his imagination. Imagination can be stimulated by a variety of questions related to the stories. In addition, the experience of hearing stories also provide a visualization exercise on setting, characters, and events in the story. Through the activity after storytelling, such as discussions about the content of the story, of course, can increase vocabulary, improve childrens understanding of a variety of situations, and the children are learning to express their feelings and thoughts through verbal and illustrative media Yudha, 2009. Pre-school children in particular think in images and symbols so easy for them to learn something through pictures, stories, or plays a role Berk, 2003. 2 Storytelling Technique Workshop Teaching stories have existed in both written and oral form. Rather than think of these as two parts of a dichotomy or even as two distinct categories, Deborah Tannen 1992 prefers to think of a continuum with meaning derived solely from text on one end and meaning derived solely from the storytelling environment on the other end Eder Hylan, 2010. Theres no denying that storytelling requires difficult techniques. To consider a variety of things such as the type of story, story content appropriate to the childs age, circumstances, various tools are needed, as well as the duration of storytelling adjusted to the childs ability to concentrate. Before attending the workshop, all participants found telling stories techniques for the child is just read a picture books with the expressive intonation. After attending the workshop, participants learned various techniques of storytelling. They reported that they are getting technical knowledge ways of storytelling that effective for their children. The information from workshop can be directly applied. They also find out that it has many of the techniques of storytelling, such as : 1 The simple technique - without using of the property and books, parents immediately told of stories that have been remembered before. This technique establish communication and intensive interaction between parent and child. Children more concentrate on the story and the message than on the tools; 2 Using media support and props puppets, hand puppets, musical instruments - this technique trying to make the story more vivid and concrete through the help of tools such as dolls, finger puppets, hand puppets, or music instruments, and other props. Kids will really like this methods, it‟s fun and easily attract the attention of children. With this technique, children will focus more on property not on the story; 3. Technique with intonation, expressions, gestures, and mimic. With this technique, children are invited to recognize various types of emotions. With the help of an attractive tone, then the story will feel more attractive. The story would be more interesting and easier to recognize different types of emotions. 417 Storytelling Techniques workshop are describe through this picture below : Figure 10. Storytelling Techniques Workshop Source : Festival Bandung 2014 Storytelling techniques also presented in 3 parallel classes by 20 professional storytellers. Through this activity the parents are expected to see an example of selecting or combining the effective techniques for their children, as it is shown in the figure 11 and 12 below : 418 Figure 11. The examples of professional storyteller. from left-right-top-down a. paper craft, b paper puppet show, c hand puppet, d used good Source : Festival Dongeng Bandung 2014 Figure 12. The examples of professional storyteller. from left-right-top-down a. marionette, b costumes, c musical instrument Source : Festival Dongeng Bandung 2014 There is no set standard which technique should be used, however it is expected that parents can choose, or even combine a variety of storytelling techniques for their child according to age, level of concentration, the message they want served, and the child characteristics. After attending the workshop, participants learned that the storytelling will be effective if you consider some of the following step: 1 Prepare the story first; 2 Adjusted the voice, intonation and media support with the stories; 3 maintains the childs imagination and interest; 4 Storytelling with simple technique, but leads to interaction, so parents can communicate intensively; 5 Considering the circumstances, it is important to build a close and friendly delivery; and 6 stimulation activities after storytelling. Johanna Slivinske and Lee Slivinske 2011 pro posed five points ―The Five E‟s‖ that will help practitioner to build rapport and trust with children. This five following points should be considered when parents tell a stories to their kids, this will help them to build strong relationship, as well promote coping, problem, solving, and healthy skill life for their kids: 1 Engage - appeal to the child‟s sense of curiosity and catch the child‟s interest; 2.Entertain - an activity to relieve stress; 3 Emote- freely support children to express their emotion, how to cope with these intense emotions in healty way; 4 Educate - teach coping 419 skill, social skill, ploblem solving, and life skill; 5 Encourage - to do their best, and believe them and their ability to achieve and overcome adversity. 3 Supporting Media for Storytelling Beside storytelling techniques and stimulation activities, the third workshop is intended to give knowledge about the various types of supporting media storytelling, as we can see on the picture below : Figure 13. Workshop of Media Supporting for Storytelling Source : Festival Dongeng Bandung 2014 Supporting media is very helpful in telling the story. It can make kids more interested and maintain concentration of children in the storytelling process. Through the workshop, participants are introduced to various types of media support such as toys, pictures, hand puppets, finger puppets, marionettes, wayang, even parents can make their own media from a junk. Some important things to consider in choosing the supporting media, are: 1 The media should be appropriate to the content and character in the story; 2 The media is expected to bring a stories to childrens daily lives; 3 The media should be safe and non-toxic; 4 The media type and size should adjusted with age and children interests. For children, crafting activities can also train their fine motor skills, such as creating paper dolls, cloth dolls, finger puppets, paper collage, drawing, etc. This activity can enhance the creativity of children, as in a storytelling there is no limit so gave rise to potential opportunities to bring the creativity of children. Encourage children to expressing their imagination and invite children to create a variety of media that can be used for storytelling Yudha, 2009. The „sense of storytelling that we try to instill in children cannot be accomplished if we do not explore all the arts, which involves all the skills and talents of the children and 420 opens their eyes to their potential‟. Dramatic expression using the arts allows one to experiment with possibilities and attain an almost distancing effect that enables the children to step back from themselves, to step out of themselves and to become someone new. The Expressive Arts channel creativity and offer diverse pathways for forming, sharing and appreciating human experience. Individuals gravitate toward art types that are comfortable andor attractive to them as means of expressing themselves, communing with others, escaping the daily grind, or resonating with an aesthetic experience. According to Allen Krebs 2007, there are seven Expressive Art types employed in Dramatic Psychological Storytelling include: 1. Narrative - the transmission of information, imagery and emotion from one person to another, through descriptive speech or writing; 2 Film - have a close relationship with metaphor, bridges the gap between what was, is now and future possibilities. Film provides both affective as well as cognitive insights necessary for change. 3 Theatre - creates a particular type of intersubjective space; 4 Music - Music offers capacity for expression and connection at a non-linear, non-verbal level; 5 Visual Art - to connect the individual with the inner self as well as with the energy of the collective and the collective unconscious speaks to those who are open to taking in the experience; 6 Dance and Kinesthetic – Bodies sharing movement in space create their own energy mass. State of the body can affect attitude and feelings, both positively and negatively; 7 Ritual and Epic - Both participants and observers are changed by these proceedings as they reflect common hopes, fears, dreams and experience. In addition, from all workshop activities, parents feel the benefits and want to implement it at home. They wrote down the plans, such as : 1 Practice for storytelling in children; 2 Invite children to draw or make some stimulation activities after telling stories; 3 Re-read the literature; 4 Encourage children to be creative through storytelling; 5 look for the story book; 6 using existing equipment at home; 7 Making stories with children at home Program Evaluation The participants were given an evaluation of the various aspects in this program. A questionnaire was given to see ratings satisfaction participants to the seminar. Aspects of the questionnaire includes materials, keynote speaker, facilities, and the duration. Response options are a 5-point Likert scale: from Strongly Disagree to Strongly Agree. In general, the participants assess that the material given during this program was interesting, easy to understand, informative, and easy to apply 50 agree and 18 strongly agree, only 3 disagree, as we can see in the chart below : 421 Figure 14. Column chart about program evaluation Through the material presented, participants gain knowledge and find additional information about the activities of storytelling. Material in the seminar are easy enough to be applied in everyday life. Not only beneficial for the kids, but the participants who have backgrounds as teachers already feel a benefit that storytelling can be implemented in the learning process in the classroom. Participants also thinks that the delivery methods can help participants understand the material. The speakers are rated by participants quite mastered the material and be able to convey the material well enough seminar rating : 4.1 and workshop rating : 3.8. Various benefits and ways of storytelling delivered with clear and easy to understand 64 participants agree dan 28 participants strongly agree, as we can see on figure 12. Table 3. Average Ratings Satisfaction of Seminar and Wokshop No. Aspect Average Rating Seminar Workshop 1 Material Interesting information, easy to understand, informative, and easy to apply 3.8 3.6 2 Keynote speaker mastery, understandable, clarity 4.1 3.8 3 Facilities rooms, audio, visual 3.9 2.8 4 Duration 4 2.9 Note : Rating is scale 1 to 5, from strongly disagree to strongly agree The supporting facilities and duration used in seminars were sufficient to support the delivery of content rating for facilities : 3.9 and duration : 4. The room felt adequate and conducive to the implementation of the seminar. But for the workshops classroom, participants felt less comfortable than seminar, as we can see on table 3 rating for facilties : 2.8 and duration : 2.9. 422 CONCLUSION The program is packed with interesting concepts, through a program labeled a festival, it can capture the interest of the public to attend this program. The theme chosen is also lightweight, applicative, and close to the daily life of children so successfully inspire participants to apply the knowledge they have acquired. The program is organized through the cooperation of various community organizations in Bandung, also helps to reach all kinds of people around Bandung. Method psychoeducation through seminar activities and discussions can provide useful information for participants. Through workshop, role play, and storytelling classes, participants gain practical knowledge and inspired to apply for their children or students. Most Participants felt that the material-provided informative, applicable, and interesting information. Keynote speakers are mastering the material, and this program is in line with the expectations of the Participants. There are some things that need to be corrected in the future, especially the setting of the room, facilities, and time management. Overall, the program is considered worthy to be held back regularly for the community. REFERENCES Allen, R., Krebs, N. 2007. Dramatic Psychological Storytelling Using the Expressive Arts and Psychotheatrics. New York : Palgrave Macmillan. Berk, L. E. 2003. Child Development 6th edition. USA: Pearson Education Inc. Eder, D., Hylan, R. 2010. Life Lessons through Storytelling : Childrens Exploration of Ethics. Indiana: Indiana University Press. Kohls, L., Brussow, H. 1995. Training Know-How For Cross Cultural and Diversity Trainers. San Francisco: Adult Learning Systems. Lukens, E. P., McFarlane, W. R. 2004. Psychoeducation as Evidence-Based Practice: Consideration for Practice, Research, and Policy. Journal Brief Treatment and Crisis Intervention Volume 4. . Santrock, J. W. 2011. Life Span Development Thirteenth Edition. New York: McGraw Hill. Slivinske, J., Slivinske, L. 2011. Storytelling a nd Other Activities for Children in Therapy . New Jersey: John Wley Sons, Inc. Sprinthall, N. A., Sprinthall, R. C. 1990. Educational Psychology : A Developmental Approach Fifth Edition. New York: McGraw Hill. Yudha, A. 2009. Cara Pintar Mendongeng. Bandung: Mizan. Zipes, J. 2004. Speaking Out Storytelling and Creative Drama for Children. London: Routledge. 423 SOCIAL LIFE DESCRIPTION OF EARLY AGE CHILD WITH MENTAL RETARDATION IN EAST NUSA TENGGARA Kresensia Wea Aga Ngawas 1 , Beatriks Novianti Bunga 2 , Indra Yohanes Kiling 3 Fakultas Keguruan dan Ilmu Pendidikan, Program Studi PG PAUD 1, 2 Fakultas Kedokteran, Program Studi Pendidikan Kedokteran 3 Universitas Nusa Cendana E-mail: kresensiangawasgmail.com 1 E-mail: boenga.evegmail.com 2 E-mail: iykilinggmail.com 3 ABSTRACT Together World Health Organization and United Nations Children‘s Fund have stated on year 2012 that one of their global agenda is to fulfill the needs of inclusive ECCD to increase the participation and development of early age children with disabilities. To help addressing the agenda, there is a need to understand various special needs of early age children with various kind of mental disability such as mental retardation. This research aims to narratively describe the prosocial behaviors of early age child with mental retardation in special school of Pembina Kupang, East Nusa Tenggara. This research used qualitative method with child observation and interview to the parents as the approach to gather data. This research shows that prosocial behaviors in early age children with mental retardation are divided into four aspects, that is: a the ability to join group, b supportive acts, c emphaty and caring and, d self-adjustment. This behaviors were shown in the child daily activities, their habit, affected by the culture of their parents and siblings, also by the interaction with their friends and family. This research could give important informations about the importance of managing the social interaction in inclusive ECCD by putting emphasis in four aspects described above, and also the role of parents and ECCD tutors in facilitating activities that could help stimulate specific needs of social skills in early age children with mental retardation. Keywords: prosocial, early age children, mental retardation, east nusa tenggara INTRODUCTION A household survey conducted by UNICEF and University of Wisconsin on year 2008 UNICEF, 2013 shows that about 52,4 children aged 6 – 9 years old experience some kind of disability. This data shows the high prevalence of this condition that could trouble children‘s development especially the young children. Early age children are child that belongs from prenatal development until eight years old WHO, 2012. Early age children with disability are minorities that susceptible to all kind of negative behaviour such as discrimination, neglection and bad stigma. To help relieve this, leading humanitarian organisations such as WHO and UNICEF begin to execute a global agenda to support the development of early age children with disabilities all around the world. Indonesia has its own trouble while dealing with the prevalence of disabilities. The 2006‘s data from Center of Statistics Bureau shows that around 0,7 or approximately 2,8 million lives are person with disabilities Astuti, 2013. The number then increased on year 2009 to 1,38 or approximately 3 million lives. This data also shows that mental retardation has the largest population compared to other kind of disabilities Putra and Adhi, 2014. According to Center of Statistics Bureau, the prevalence of mental retardation reach 1 – 3 424 from total population of Indonesia, this numbered around 6,6 million lives Astuti, 2013. This number are predicted to increase in the future. Children with mental retardation are child that experience delay in mental development underperforming intellectual function when compared to peers which is accompanied with the inability to learn and also to adjust with hisher environment. These children have problems with short term memory, it will be hard for them to memorize visuo- spatial like in a short term memory psychological test Ardina, 2012. Furthermore, children with cognitive delays may learn at a slower pace, experience a high rate of forgetting and also have diffculty in regulating their behaviour and transferring learning to new events, situations, or people. They also require more adult guidance and direct instruction, may require activities that concrete versus abstract, and may not readily understand a lengthy verbal instructions Kilgo and Gargiulo, 2005. One of the most important challenges individuals with mental retardation face while interacting with their peers and other people is their deficiency in social skills. Cognitive limitation is considered to the most important factor for the inadequate social skills of students with mental retardation. Greenspan and Shoultz cited in Tekinarslan et al., 2012 state that cognitive limitations of individuals with mental retardation adversely affect their decision making about how to behave in some certain situations. Therefore, it is noted that students with mental retardation are unable to master social skills and have difficulty in generalizing the learnt social skills in different environments. Although social skills differ at various ages and for various ethnic and cultural groups, some skills are universal. These universal skills that called prosocial skills comprise being positive and agreeable, being able to use relevant contextual and social cues to guide one‘s own behaviour, and being sensitive and responsive to the interests and behaviour of playmates Mize cited in Porter, 2002. One of the important component from prosocial behaviour that could easily be seen in a early age child behaviour is their skill to enter a social context. The prosocial skills comprises of Porter, 2002: 1. Observe the group before attempting entry. 2. Initiate contact by approaching, touching, gaining eye contact, vocalising or using another child‘s name. 3. Responding positively to others’ invitations is a second way to gain entry to others‘ play. 4. Avoid disruptive actions, such as calling attention to oneself, asking questions, criticising the way the other children are playing, or introducing new topics of conversation or new games, being too boisterous and thus out of keeping with the group, acting aggressively or destroying others‘ play materials 5. Supportive actions. Supportive behaviours tell others that potential playmates are keen to cooperate and can be trusted. Such actions comprise: a. complimenting; b. smiling at; c. cooperating; d. imitating; e. sharing; f. taking turns; g. assisting others; h. leading diplomatically i.e. making positive play suggestions to enlist other children in their play, but without being bossy. 425 To be supportive, children also need to pay attention to relevant social cues so that they are sensitive to the needs of their playmates. In response to feedback from their peers, they need to:  moderate their behaviour to suit their friends;  respond positively when others are trying to make friends. Finally, children need to be aware of how their behaviour will influence how other people respond to them.

6. Conflict management skills