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All Journal Jurnal Sitakara Acintya ARTISTIC : International Journal of Creation and Innovation Gesture: Jurnal Seni Tari
Wibowo, Anggono Kusumo
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Arts Humanities Education Languange, Linguistic, Communication & Media

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“CAKIL JUGA MANUSIA” (DASAR KONSEPTUAL ME-MANUSIA-KAN CAKIL DALAM PERTUNJUKAN) Wibowo, Anggono Kusumo
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (468.636 KB) | DOI: 10.33153/acy.v8i1.1911

Abstract

Preparation of dance with the title “Cakil Juga Manusia (Cakil Also Human: Ing)” inspired by some contemporary thinking associated with the figure of Cakil. In the world of show tradition Puppet Stage, Cakil identical as antagonist iconic to the nature of evil and bad. Nevertheless, its presence is always awaited by the audience because of its motion is interesting, distinctive, attractive and acrobatic. In addition to the motion, the character traits that ngglece using everyday language of populist dialogue considered communicative audience. The show is entertaining and communicative as well as the populist spur compilers for presenting a claim jogetan Cakil new ones with shades of populist. Ina fragment of a story, Cakil presented as being humane because it has love, has the property of honest, innocent, and innocent. The work “Cakil Juga Manusia” try to work on one scene that is packaged in a dance drama story about inner feelings Cakil figure in romance. The process of this work is done by a coherent process stages. Starting from the literature, field studies, data reduction,the discovery of forms till, independent search process, the selection of dancers, the production team selection, implementation of the exercises, the deepening and strengthening of the work, up to the staging. This work is specifically aimed to re-discover the contrast of the characters Cakil. The rationale behind the idea of this work is the desire to realize the humanity of Cakil, that he has a love,feelings, loyalty, and a sense of sensibility. This effort will greatly affect the appearance of vokabulervokabuler new motion in the frame of a typical motion Ceklekan. Novelty characters and their Cakil vokabuler new motion will be attempted to be developed in the frame of narrative fragments of stories. This will add to the challenges of exploration and character motion in the cultivation process works.Keywords: Cakil, the concept works, fragments of Love, and Ceklekan.
PENGALAMAN EKSPLORASI PERTUNJUKAN TARI DALAM ACARA PEMBUKAAN FESTIVAL SEBAGAI TEMUAN METODE CIPTA SENI (Studi Kasus Proses Penciptaan Karya Tari Seno Kridho) Samsuri, S.,; Wibowo, Anggono Kusumo
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (942.493 KB) | DOI: 10.33153/acy.v9i1.2125

Abstract

In the domain of public dance performances, aspects of space, time, and particular interests greatlyaffected creative outcomes. Space, time, and particular interests were sometimes considered as limiting the creativity. In this art work planning, the limitation of space, time and interests were used as atrigger for creativity. On this occasion the dance performance creation would be directed to make aset of dance performances as a festival opening by carrying a wayang story titled “Dewa Ruci”, andtrying to show typical performance requirements for a festival opening ceremony, namely: festive, fullof surprises, message events, and still pay consideration to the dramaturgy impression in the packaging. Dance performances as the opening of a festival was a form of performances packaging thatwere within the limits of space, time, and particular interests, it could not be negotiated. While theshort duration still demanded excitement and surprise, the message content of the event must beshown in the work. This became a huge creative challenge for an artist. The experience of creating aperformance in this interest context, became a methodological experience that could be proposed asa finding.Keywords: festival opening perfomance packaging, drama “Dewa Ruci”.
Estetika Garap Tubuh dan Properti dalam Karya Tari Gandhewa Raga Wibowo, Anggono Kusumo; samsuri, samsuri
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4675

Abstract

ABSTRACTThe dance entitled Gandhewa Raga is a group dance of men and women. This dance is worked on with the beauty of the body and operatives. The body functions as a medium to express the contents of dance and property, as one of the media, said the complement. Disclosure of the beauty of the body worked with property media, namely gandhewa. The motion displayed is the exploration motion of the gandhewa form. The movement of Gandhewa Raga dance is a movement of the Surakarta stout and princess style traditions. This work process aims to explore, find out the meaning of property, and understand the aesthetic values of the body and property. The results of this study are explorations and disclosures of body and property values. The method used is creating dance work with the process of investigation, improvisation, and composition. The aesthetic of the Gendhewa Raga dance will emerge after carrying out the stages of the method. The aesthetic value of body and property can be seen from the form of dance composition that has been arranged and can be enjoyed. This beauty can be enjoyed by aspects of dance movements, namely energy, space, and time, dance accompaniment, fashion make-up, dance performers, staging venues, and property processing. Keyword: Gandhewa Raga, Aesthetic, Phsycal dance, body and property ABSTRAKTari Gandhewa Raga merupakan tari kelompok putra dan putri. Tarian ini merupakan tari yang digarap dengan keindahan tubuh dan poperti. Tubuh yang berfungsi sebagai media untuk mengungkapkan isi tari da propertisebagai salah satu media ungkap pelengkapnya. Pengungkapan keindahan tubuh digarap dengan media propert yaitu Gandhewa. Gerak yang ditampilkan adalah gerak eksplorasi dari bentuk Gandhewa. Gerak karya tari Gandhewa raga adalah gerak tradisi gaya Surakarta gagah dan putri. Proses kekaryaan ini bertujuan untuk bereksplorasi, mengetahui makna properti, dan memahami nilai-nilai estetis tubuh dan property. Hasil penelitian ini merupakan eksplorasi dan pengungkapan nilai tubuh dan properti. Metode yang digunakan adalah metode menciptakan karya tari dengan proses eksplorasi, improvisasi dan komposisi. Estetika ketubuhan tari Gandhewa Raga akan muncul setelah melaksanakan tahapan metode tersebut. Nilai estetis ketubuhan dan propertidapat dlihat dari bentuk koposisi tari yang sudah tersusun dan sapat dinikmati. Penikmatan keindahan tersebut dapat dilihat dengan aspek gerak tari yaitu tenaga, ruang dan waktu, serta iringan tari, tata rias busana, pelaku tari, tempat pementasan dan pengolahan properti Kata kunci: Gandhewa Raga, Estetika, Tari Fisik, Tubuh dan Properti 
PROSES PENCIPTAAN DAN BENTUK TARI NGARAP DALAM KARYA TIKEW: CIRCLE OF LIFE “JAK BAWANG ADOK KEUGHIKAN” Adiwendro, Fonda; Wibowo, Anggono Kusumo
Jurnal Sitakara Vol. 10 No. 1 (2025): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v10i1.17691

Abstract

Penelitian ini bertujuan untuk mengetahui proses penciptaan dan bentuk sajian karya Tari Ngarap. Masalah difokuskan pada (1) Bagaimana proses penciptaan karya Tari Ngarap? (2) Bagaimana bentuk sajian karya Tari Ngarap? Guna mendekati masalah proses penciptaan digunakan acuan teori dari Alma Hawkins yang meliputi tahap eksplorasi, tahap improvisasi, dan tahap pembentukan. Sedangkan masalah bentuk sajian digunakan acuan teori dari Soedarsono yang meliputi gerak tari, pola lantai, musik tari, tata rias busana, properti, waktu dan tempat pertunjukan. Metode penelitian ini menggunakan Practice Led Research, salah satu metode penelitian artistik yang mengacu pada isu penelitian di tengah masyarakat dan dijawab dengan karya tari. Data-data dikumpulkan melalui observasi, wawancara, studi pustaka dan diimplementasikan melalui penyusunan konsep, eksplorasi, pembentukan, serta pelatihan. Kajian ini menyimpulkan bahwa melalui proses penciptaan tari dapat membentuk sajian karya Tari Ngarap yang berangkat dari fenomena panen atau Ngarap Tikew. Karya ini termasuk dalam karya koreografi baru yang tersusun atas interpretasi pengkarya terhadap trilogi hubungan antara Tuhan, manusia, dan alam. Kata Kunci: Proses Penciptaan; Bentuk; Ngarap Tikew
MARKURIUS UWING’S CREATIVITY IN THE WE’ JONGGAN DANCE Puspita, Kristina Mela Sarita Dea; Wibowo, Anggono Kusumo
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6408

Abstract

The We' Jonggan dance creation by Markurius Uwing at Sanggar Borneo Tarigas has expressive and aesthetic complexity. The We' Jonggan dance is a social event for the Dayak tribe to express joy and establish harmony in living their daily lives. This study aims to describe the source of inspiration, form and function of the We' Jonggan dance performance. This study uses a qualitative descriptive research method. Data were collected through interviews and observations, as well as interpretive data analysis. The We' Jonggan dance creation with its complexity and existence is able to create opportunities for collaborative or colossal work with interdisciplinary knowledge. The artistic creative process in the creation of the We' Jonggan dance is carried out based on the aesthetic experience of its creator. This aesthetic experience can be transformed into a dance form with movement techniques and dance essence that are full of meaning. The results of this study are expected to be able to create development, variation or creation based on dance works of Indonesia.
“CAKIL JUGA MANUSIA” (DASAR KONSEPTUAL ME-MANUSIA-KAN CAKIL DALAM PERTUNJUKAN) Wibowo, Anggono Kusumo
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i1.1911

Abstract

Preparation of dance with the title “Cakil Juga Manusia (Cakil Also Human: Ing)” inspired by some contemporary thinking associated with the figure of Cakil. In the world of show tradition Puppet Stage, Cakil identical as antagonist iconic to the nature of evil and bad. Nevertheless, its presence is always awaited by the audience because of its motion is interesting, distinctive, attractive and acrobatic. In addition to the motion, the character traits that ngglece using everyday language of populist dialogue considered communicative audience. The show is entertaining and communicative as well as the populist spur compilers for presenting a claim jogetan Cakil new ones with shades of populist. Ina fragment of a story, Cakil presented as being humane because it has love, has the property of honest, innocent, and innocent. The work “Cakil Juga Manusia” try to work on one scene that is packaged in a dance drama story about inner feelings Cakil figure in romance. The process of this work is done by a coherent process stages. Starting from the literature, field studies, data reduction,the discovery of forms till, independent search process, the selection of dancers, the production team selection, implementation of the exercises, the deepening and strengthening of the work, up to the staging. This work is specifically aimed to re-discover the contrast of the characters Cakil. The rationale behind the idea of this work is the desire to realize the humanity of Cakil, that he has a love,feelings, loyalty, and a sense of sensibility. This effort will greatly affect the appearance of vokabulervokabuler new motion in the frame of a typical motion Ceklekan. Novelty characters and their Cakil vokabuler new motion will be attempted to be developed in the frame of narrative fragments of stories. This will add to the challenges of exploration and character motion in the cultivation process works.Keywords: Cakil, the concept works, fragments of Love, and Ceklekan.
PENGALAMAN EKSPLORASI PERTUNJUKAN TARI DALAM ACARA PEMBUKAAN FESTIVAL SEBAGAI TEMUAN METODE CIPTA SENI (Studi Kasus Proses Penciptaan Karya Tari Seno Kridho) Samsuri, S.,; Wibowo, Anggono Kusumo
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2125

Abstract

In the domain of public dance performances, aspects of space, time, and particular interests greatlyaffected creative outcomes. Space, time, and particular interests were sometimes considered as limiting the creativity. In this art work planning, the limitation of space, time and interests were used as atrigger for creativity. On this occasion the dance performance creation would be directed to make aset of dance performances as a festival opening by carrying a wayang story titled “Dewa Ruci”, andtrying to show typical performance requirements for a festival opening ceremony, namely: festive, fullof surprises, message events, and still pay consideration to the dramaturgy impression in the packaging. Dance performances as the opening of a festival was a form of performances packaging thatwere within the limits of space, time, and particular interests, it could not be negotiated. While theshort duration still demanded excitement and surprise, the message content of the event must beshown in the work. This became a huge creative challenge for an artist. The experience of creating aperformance in this interest context, became a methodological experience that could be proposed asa finding.Keywords: festival opening perfomance packaging, drama “Dewa Ruci”.
Estetika Garap Tubuh dan Properti dalam Karya Tari Gandhewa Raga Wibowo, Anggono Kusumo; samsuri, samsuri
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4675

Abstract

ABSTRACTThe dance entitled Gandhewa Raga is a group dance of men and women. This dance is worked on with the beauty of the body and operatives. The body functions as a medium to express the contents of dance and property, as one of the media, said the complement. Disclosure of the beauty of the body worked with property media, namely gandhewa. The motion displayed is the exploration motion of the gandhewa form. The movement of Gandhewa Raga dance is a movement of the Surakarta stout and princess style traditions. This work process aims to explore, find out the meaning of property, and understand the aesthetic values of the body and property. The results of this study are explorations and disclosures of body and property values. The method used is creating dance work with the process of investigation, improvisation, and composition. The aesthetic of the Gendhewa Raga dance will emerge after carrying out the stages of the method. The aesthetic value of body and property can be seen from the form of dance composition that has been arranged and can be enjoyed. This beauty can be enjoyed by aspects of dance movements, namely energy, space, and time, dance accompaniment, fashion make-up, dance performers, staging venues, and property processing. Keyword: Gandhewa Raga, Aesthetic, Phsycal dance, body and property ABSTRAKTari Gandhewa Raga merupakan tari kelompok putra dan putri. Tarian ini merupakan tari yang digarap dengan keindahan tubuh dan poperti. Tubuh yang berfungsi sebagai media untuk mengungkapkan isi tari da propertisebagai salah satu media ungkap pelengkapnya. Pengungkapan keindahan tubuh digarap dengan media propert yaitu Gandhewa. Gerak yang ditampilkan adalah gerak eksplorasi dari bentuk Gandhewa. Gerak karya tari Gandhewa raga adalah gerak tradisi gaya Surakarta gagah dan putri. Proses kekaryaan ini bertujuan untuk bereksplorasi, mengetahui makna properti, dan memahami nilai-nilai estetis tubuh dan property. Hasil penelitian ini merupakan eksplorasi dan pengungkapan nilai tubuh dan properti. Metode yang digunakan adalah metode menciptakan karya tari dengan proses eksplorasi, improvisasi dan komposisi. Estetika ketubuhan tari Gandhewa Raga akan muncul setelah melaksanakan tahapan metode tersebut. Nilai estetis ketubuhan dan propertidapat dlihat dari bentuk koposisi tari yang sudah tersusun dan sapat dinikmati. Penikmatan keindahan tersebut dapat dilihat dengan aspek gerak tari yaitu tenaga, ruang dan waktu, serta iringan tari, tata rias busana, pelaku tari, tempat pementasan dan pengolahan properti Kata kunci: Gandhewa Raga, Estetika, Tari Fisik, Tubuh dan Properti 
Revitalisasi Motif Batik Reog Ponorogo dalam Karya Tari Batik Ponoragan Annursyah, Hasbi; Aminudin, Aminudin; Wibowo, Anggono Kusumo
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67512

Abstract

This study investigates the revitalization of Reog Ponorogo batik motifs through the creation of a contemporary dance performance entitled Tari Batik Ponoragan. The research aims to reinterpret the symbolic meanings and philosophical values embedded in Reog Ponorogo batik motifs into choreographic language and visual presentation. A qualitative approach was employed, incorporating participant-led and practice-led methods that actively engaged local batik artisans and dancers in the creative process. Data were obtained through participatory observation, in-depth interviews, and documentation, and analyzed thematically. The results demonstrate that this revitalization effort successfully integrates cultural symbolism with expressive and innovative choreography, resulting in an authentic work of art. Beyond artistic espression this dance also serves an educational medium and a means of reinforcing cultural identity sustainability. Collaborative, inclusive, and practice-bassed approaches are proven to be effective strategies for preserving and developing cultural heritage in respons to contemporary social changes.
Sejarah Perkembangan Reog Sepuh di Paguyuban Singo Gaplok Kabupaten Ponorogo Apriyanto, Sendi Iman; Wibowo, Anggono Kusumo
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67907

Abstract

 This research examines the development of Reog Sepuh in Bedingin Village, Sambit District, Ponorogo Regency as a form of cultural heritage that has evolved within the dynamics of social changes. The research focuses on the transformation of performance structure, philosophical values, and preservation efforts carried out by its supporting community. This research employs a qualitative approach with ethnographic methods, participatory observation, in-depth interviews, and document study. The results show that Reog Sepuh Bedingin has uniqueness in terms of performance structure, movement patterns, and ritual functions that are still maintained to this day. Despite facing the challenges of modernization and shifting interests of the younger generation, Reog Sepuh Bedingin persists through regeneration efforts, creative innovations that still respect traditional standards, and support from local government and community. This research emphasizes the importance of balance between preserving authentic values and contextual adaptation to ensure the sustainability of traditional arts in the modern era.
Co-Authors Adiwendro, Fonda Aminudin Aminudin Annursyah, Hasbi Apriyanto, Sendi Iman Puspita, Kristina Mela Sarita Dea Samsuri Samsuri Samsuri, S.,