<![CDATA[The Bedhaya Senapaten Sukapratama dance features several variations that remain firmly rooted in traditional symbolic structures while simultaneously opening space for new explorations in linguistic and aesthetic dimensions. This study aims to examine the aesthetic form Bedhaya Senapaten Sukapratama dance. The analysis of the dance’s aesthetic form employs an aesthetic approach to uncover its physical and formal elements. Data collection techniques include observation, interviews, and data validation. During the observation stage, the researcher directly observed the presentation of Bedhaya dance. Subsequently, interviews were conducted with dancers, art connoisseurs, and artists from the Mangkunegaran Palace. Lastly, data validation was performed through consultations with dancers, Mangkunegaran artists, cultural experts, linguists, community leaders, and local residents. The results of the study indicate that Bedhaya Senapaten Sukapratama dance is performed by seven male dancers wearing identical costumes and makeup, following the Bedhaya style of Mangkunegaran tradition. The structure of the dance consists of key elements including dancers, dance movements, spatial arrangements, musical accompaniment, title, theme, and floor patterns. The aesthetic concept of this dance adheres to the principles of wiraga, wirama, and wirasa, which are reflected in the Hasthasawandha concept—comprising pacak, pancat, luwes, irama, gending, ulat, lulut, and wiled. By analyzing this dance through a stylistic-semiotic and aesthetic framework, this research contributes to the enrichment of scholarly discourse in the fields of performing arts, cultural linguistics, and symbolic studies. Moreover, it offers a new perspective on how traditional artistic works can be rearticulated in contemporary contexts without losing their cultural essence.]]>
