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GLADHEN DALAM SENI PERTUNJUKAN TARI TRADISIONAL JAWA Widyastutieningrum, Sri Rochana
Sabda: Jurnal Kajian Kebudayaan Vol 12, No 2: 2017
Publisher : Fakultas Ilmu Budaya Universitas Diponegoro

Gladhen in dance performances is always done by its dancers as an effort to be able to show good performance and aesthetic values. Professional dancers are required to create innovation. The birth of professional dancers is strongly influenced by the training process they experienced. To produce a beautiful dance performance, a professional dancer needs hard training and practice, which is called gladhen. This paper discusses on the proccess of training and practice to produce professional Javanese dancers.

BENTUK PERAHU NELAYAN TRADISIONAL CILACAP PRAFIBERISASI Rochyat, Indra Gunara; Widyastutieningrum, Sri Rochana; Sunarto, Bambang; Sunarmi, Sunarmi
Sejarah dan Budaya: Jurnal Sejarah, Budaya, dan Pengajarannya Vol 16, No 2 (2022): Sejarah dan Budaya: Jurnal Sejarah, Budaya, dan Pengajarannya
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um020v16i22022p318-343

Traditional wooden fishing boats in Cilacap have a characteristic shape as a marker of their territory. The preservation of the shape of the boat until the era of fiberglass of materials became an ontological problem that was formulated. A phenomenological approach to the design of wooden boats is used in reviewing the content of values in the form at a certain time. The design element review method dissects various needs related to aspects of practicality, aesthetics, and symbols and combinations of the three, according to the geographical situation, and living conditions. The formation of the wooden fishing boat elements supported by the guiding elements is always related in a unit that influences each other. The intrinsic value in the shape of the wooden boat that was instilled by the previous fishermen was maintained by the next generation.Perahu kayu nelayan tradisional di Cilacap memiliki ciri bentuk sebagai penanda wilayahnya. Bertahannya bentuk perahu sampai pada era bahan fiberglass menjadi sebuah persoalan ontologis yang dirumuskan. Pendekatan fenomenologis pada desain perahu kayu digunakan dalam meninjau kandungan nilai-nilai pada bentuk di suatu kurun waktu tertentu. Metode tinjauan elemen desain membedah berbagai kebutuhan yang berkaitan dengan aspek kepraktisan, estetika dan simbol-simbol serta kombinasi-kombinasi dari ketiganya, sesuai dengan situasi geografis, dan kondisi-kondisi kehidupannya. Terbentuknya elemen perahu kayu nelayan ditopang oleh unsur-unsur pemandu itu senantiasa berkaitan dalam sebuah unit yang saling mempengaruhi satu sama lain. Nilai instrinsik pada bentuk perahu kayu yang ditanamkan oleh nelayan terdahulu terus dipertahankan oleh generasi sesudahnya.

REKONSTRUKSI TARI JEPIN TALI DI KABUPATEN SINTANG Sari, Anggi Wulan; Widyastutieningrum, Sri Rochana
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4691

This research focuses on an in-depth analysis of the reconstruction process and outcomes of the Jepin Tali dance, reimagined by Anggi Wulan Sari in Sintang Regency. Jepin Tali is a traditional dance rooted in Malay culture, originating from Sintang, West Kalimantan. It is a key aspect of local heritage, performed in groups by both male and female dancers. The dance serves not only as entertainment but also as a vehicle for community education, promoting values such as cooperation and tolerance. The study adopts the reconstruction theory from the Burra Charter alongside the form theory introduced by Slamet. It employs a qualitative research approach with descriptive and interpretative methods. Data was collected through a combination of observation, literature review, and in-depth interviews with knowledgeable sources. The findings of the study are multifaceted. Firstly, the Jepin Tali dance acts as both a source of entertainment and a means of imparting social values. Secondly, the reconstruction process was structured around stages of exploration and organization, delving into the dance's historical and cultural significance. Thirdly, the reconstruction resulted in expanding the dance from three to sixteen movement variations, enriching the musical elements, makeup, costumes, and floor patterns. Fourthly, the dance is now performed by four female dancers, following a three-part structure—opening, main performance, and closing—using eight ropes as props. Lastly, the unique feature of the Jepin Tali dance lies in its use of ropes and the incorporation of the Siti Zubaidah chant, enhancing the artistic depth of the performance.

KOREOGRAFI PELUK JIWA KARYA JONET SRI KUNCORO DAN MT. WASI BANTOLO BERSAMA ANAK DISABILITAS TUNA RUNGU Wardanny, Smirna; Widyastutieningrum, Sri Rochana
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5983

This study describes the process of creation and form of Peluk Jiwa dance. The problems in this study include process of creating Peluk Jiwa dance choreography and form of Peluk Jiwa dance. The choreography of Peluk Jiwa is based on the traditional Surakarta style dance movements that are balanced and adapted to the abilities of the dancers who are deaf children, non-disabled children and physically disabled singers. The dance work Peluk Jiwa tells about social equality between normal people and people with physical disabilities. This study uses a qualitative method that is descriptive analysis. The theory used to solve the problem of the choreography creation process uses a theory with seven stages, namely elements of dance moves, theme selection, technique, exploration, organization, unity, presentation while to dissect the form of the work of Peluk Jiwa Dance using nine main elements including (1) dance title, (2) dance themes, (3) types of dance, (4) dance room, (5) dance moves, (6) dance music, (7) presentation methods, (8) dancers, (9) makeup and clothing. The results of this study indicate that Peluk Jiwa Dance is the work of Jonet Sri Kuncoro and Wasi Bantolo with children hearing impairments who were created through a seven-stage creative process and also added that the form of Peluk Jiwa is a drama dance involving dancers for children with hearing impairments. This work contains a message of social equality between children with hearing impairments and normal children.

A Study of Dakwah Pattern on Dramatic Text and Its Transformation From Serat Menak Lare Literature to the Choreography Text of Srimpi Dance Pramutomo, R.M.; Widyastutieningrum, Sri Rochana; Kuncoro, Jonet Sri
Hanifiya: Jurnal Studi Agama-Agama Vol 3, No 1 (2020): Hanifiya: Jurnal Studi Agama-Agama
Publisher : Program Studi Studi Agama-Agama Pascasarjana UIN Sunan Gunung Djati Bandung

The Srimpi dance is a Javanese dance which is presented by four female dancers. Usually, the Srimpi dancers are four female teenagers. The dance itself is based on literature. On the Srimpi Menak lare variation, the dance is performed by four child dancers, specifically by two boys and two girls. The Srimpi Menak Lare dance was inspired from the childhood tale of Tiyang Agung Jayengrana or Amir Ambyah, one of the uncles of Prophet Muhammad on a play by R.Ng. Yosodipuro I. The dramatical transformation in said play, when choreographically visualized, becomes a topic of discussion. This article will examines a study of dance elements which is pattered by da’wah in Islamic point of view. Based on said discussion, the creation of Srimpi Menak Lare dance is a research-based dance creation from the idea forming, exploration, concept building, and the forming of the dance itself. The methodological application in this artistic research refers to the analitycal form of the innovative choreography of the Srimpi Menak Lare dance. Through this specific term of da’wah pattern this article applied an exploration of elements of dance creation related to the contens of da’wah in Islamic values.

Transkripsi Musikal Pertunjukan Rapai Pasee Di Aceh Utara Karina, Angga Eka; Widyastutieningrum, Sri Rochana; Hirza, Herna
Grenek: Jurnal Seni Musik Vol. 11 No. 1 (2022): Grenek: Jurnal Seni Musik (June)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/grenek.v11i1.34695

Pertunjukan Rapai Pasee adalah musik perkusi yang menampilkan pertunjukan adu pola ritme oleh dua grup musik yang tampil bersamaan dalam satu panggung. Pola ritme yang dimainkan disebut dengan Lagu. Masing-masing Lagu memiliki susunan pola ritme yang berbeda satu sama lainnya. Hal ini menarik untuk dideskripsikan dalam bentuk transkripsi musikal. Teori merujuk pada Nettl dan Seeger (Chase & Nettl, 1965), (Charles Seeger, 2012) mengatakan bahwa transkripsi adalah proses menotasikan bunyi, mengalihkan bunyi menjadi simbol visual, atau kegiatan memvisualisasikan bunyi musik ke dalam bentuk notasi dengan cara menuliskannya ke atas kertas. Data penelitian didapatkan dengan mengamati kesenian Rapai Pasee yang dilakukan oleh Grup Putra Pasee dan Grup Raja Buah sebagai kelompok dengan persentase paling sering tampil dan juara pada kompetisi yang dilakukan di Aceh Utara. Data-data penelitian didapatkan melalui pengamatan, rekaman musik, diperkuat dengan wawancara dengan masyarakat yang terlibat dalam kesenian Rapai Pasee. Hasil yang diperoleh menjelaskan bahwa transkrispi musikal secara deskriptif terdiri dari Lagu Sa, Lagu Dua, Lagu Lhee, Lagu Limoeng, Lagu Tujoh, Lagu Sikureung dan Lagu Duablah secara detail menurut apa yang ditangkap oleh indera pendengaran peneliti dengan maksud untuk menyampaikan ciri-ciri dan detail-detail komposisi musik Rapai Pasee.

Vertical and panoramic views: a new vocabulary of drone shots in cinematography Noor, Firdaus; Widyastutieningrum, Sri Rochana; Sutrisno , Mudji; Ajidarma , Seno Gumira
Gelar: Jurnal Seni Budaya Vol. 23 No. 1 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v23i1.6513

This study aims to reveal how drones have entered the language of film, which essentially means how drones can contribute to new vocabulary in cinematography, especially regarding the type of shot in camera angles and framing. This study uses a qualitative approach with a post-phenomenological descriptive analysis method developed by Don Ihde. The data presented are moving image documentation produced by drone technology in twelve documentary films from the Ekspedisi Indonesia Biru series, each lasting approximately 50 minutes. The observation results of the number of drone shots analyzed in this study totaled 193 (one hundred ninety-three). The analysis process was then compared using Bordwell, Thompson, and Mascelli's theory to conceptualize film vocabulary as formal and stylistic techniques used in drone cinematography in the twelve documentary films of Ekspedisi Biru Indonesia. Two important findings were identified based on indicators not found in the basic rules, vocabulary, and cinematographic language practices that have become industry standards. First, two new words were found in the drone camera angle variable: Vertical and Panoramic. Second, in the framing variable based on size and distance, drone cinematography language still refers to cinematographic grammar practices established in a global consensus. The striking difference lies in the height of the camera position, which has become a distinctive visual style of drone cinematography. Further research is needed to develop drone technology to realize new linguistic efforts, particularly from the perspective of camera movement, which challenges the dominance of existing film language. In the future, drone technology will incorporate more advanced artificial intelligence algorithms to enhance real-time camera movement maneuvers and add non-human factors such as energy efficiency, collision avoidance, flight restrictions, and bandwidth improvement.

THE CREATION PROCESS OF THE PELUK JIWA DANCE WITH DEAF CHILDREN Wardanny, Smirna; Widyastutieningrum, Sri Rochana
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5069

Adopting a distinctive dance with movements and musical accompaniment to children with hearing impairments is exceptional. One can imagine the process and complexity that surrounds it. This article illustrates the PelukJiwa dance creation process by Jonet Sri Kuncoro and WasiBantolo with deaf children. This analysis employs a qualitative method by observing the creation and staging of the dance and conducting interviews with dancers, choreographers, and directors, which are then descriptively analyzed qualitatively. The analysis outcomes indicate that the process of creating this dance incorporates dance movement, theme selection, technique, exploration, organization, cohesion, and presentation. In addition, the performance conveys a message of social equality for deaf and normal children.

Daryono's artistic creativity journey in the body of Surakarta Style Javanese Dance Lambangsari, Sonia Pangesti; Widyastutieningrum, Sri Rochana; Setiawan, Aris
Gelar: Jurnal Seni Budaya Vol. 21 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4952

This study aimed to explore the Daryono’s artistic, creative journey in the body in the Surakarta Style of Javanese Dance. The research method was carried out through observation of dance performances presented by Daryono, that is, Beksan Diradameta. Through this dance, the researcher studied the form and characteristics of Daryono's dance expertise. The observation focused on the process of achieving the quality of Daryono dance through various stages. In-depth interviews were conducted to reinforce the data obtained through the observation. The results showed that the factors and stages that were passed caused Daryono's expertise in Javanese dance, Surakarta style, to reach taksu. The stages are mastery of techniques, formation of the body, spiritual mastery, and awareness of philosophical concepts. On spiritual and philosophical principles, Daryono has always adhered to the concepts of Hasthasawanda, Joged Mataram, Mandala, and Asta Brata. This research can contribute to the development of artistic knowledge, especially Javanese dance in the Surakarta style.

REKONSTRUKSI TARI JEPIN TALI DI KABUPATEN SINTANG Sari, Anggi Wulan; Widyastutieningrum, Sri Rochana
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4691

This research focuses on an in-depth analysis of the reconstruction process and outcomes of the Jepin Tali dance, reimagined by Anggi Wulan Sari in Sintang Regency. Jepin Tali is a traditional dance rooted in Malay culture, originating from Sintang, West Kalimantan. It is a key aspect of local heritage, performed in groups by both male and female dancers. The dance serves not only as entertainment but also as a vehicle for community education, promoting values such as cooperation and tolerance. The study adopts the reconstruction theory from the Burra Charter alongside the form theory introduced by Slamet. It employs a qualitative research approach with descriptive and interpretative methods. Data was collected through a combination of observation, literature review, and in-depth interviews with knowledgeable sources. The findings of the study are multifaceted. Firstly, the Jepin Tali dance acts as both a source of entertainment and a means of imparting social values. Secondly, the reconstruction process was structured around stages of exploration and organization, delving into the dance's historical and cultural significance. Thirdly, the reconstruction resulted in expanding the dance from three to sixteen movement variations, enriching the musical elements, makeup, costumes, and floor patterns. Fourthly, the dance is now performed by four female dancers, following a three-part structure—opening, main performance, and closing—using eight ropes as props. Lastly, the unique feature of the Jepin Tali dance lies in its use of ropes and the incorporation of the Siti Zubaidah chant, enhancing the artistic depth of the performance.

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