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All Journal Sabda: Jurnal Kajian Kebudayaan Grenek: Jurnal Seni Musik Journal of Urban Society´s Arts Jurnal Sejarah dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Gelar : Jurnal Seni Budaya Greget Hanifiya: Jurnal Studi Agama-Agama ARTISTIC : International Journal of Creation and Innovation Gesture: Jurnal Seni Tari Global Art Creativity Conference
Widyastutieningrum, Sri Rochana
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Religion Arts Humanities Computer Science & IT Education Languange, Linguistic, Communication & Media Social Sciences

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Journal : greget

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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

Abstract

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

Abstract

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.
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

Abstract

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

Abstract

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.
Co-Authors Ajidarma , Seno Gumira Angga Eka Karina Aris Setiawan Bambang Sunarto Deddy Setyawan Dewi, Maharani Luthvinda febfi setyawati Firdaus Noor Handriyotopo Handriyotopo Hartanto, Denny Antyo HERNA HIRZA Ida Bagus Gde Yudha Triguna Indra Gunara Rochyat Kuncoro, Jonet Sri Lambangsari, Sonia Pangesti Peradantha, Ida Bagus Gede Surya Prakoso, Restra Bagas R.M. Pramutomo Rizka Fauziah Sari, Anggi Wulan Soewarlan, Santosa Sunarmi Sunarmi Sutrisno , Mudji Wardanny, Smirna