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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Harmonia: Journal of Research and Education Abdimas JABE (Journal of Accounting and Business Education) E-Dimas: Jurnal Pengabdian kepada Masyarakat JMM (Jurnal Masyarakat Mandiri) Riau Journal of Empowerment Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Kumawula: Jurnal Pengabdian Kepada Masyarakat Abdi Dosen : Jurnal Pengabdian Pada Masyarakat Varia Humanika Jurnal Puruhita Jurnal Bina Desa Jurnal Pendidikan Sendratasik Gesture: Jurnal Seni Tari INSANIA : Jurnal Pemikiran Alternatif Kependidikan PENA ABDIMAS : Jurnal Pengabdian Masyarakat Jurnal Bina Desa Jurnal Seni Tari Jurnal Abdi Negeri
Lesa Paranti
Universitas Negeri Semarang
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Nursing Public Health Social Sciences Other

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INOVASI TARI CATUR WANARA SEBAGAI MEDIA REGENERASI PELAKU SENI DAN EDUWISATA KANDRI Paranti, Lesa; Putri, Rimasari Pramesti; Maghfiroh, Anik; Ista, Immanuel Ananda
JMM (Jurnal Masyarakat Mandiri) Vol 9, No 5 (2025): Oktober
Publisher : Universitas Muhammadiyah Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31764/jmm.v9i5.34299

Abstract

Abstrak: Potensi seni tari di Desa Wisata Kandri terhambat karena minimnya minat remaja dan frekuensi pentas yang hanya setahun sekali. Untuk mengatasi hal ini, tujuan dilaksanakannya kegiatan ini adalah memberikan inovasi tari yang terinspirasi Legenda Goa Kreo Desa Kandri untuk mewujudkan regenerasi pelaku seni dan eduwisata Kandri. Mitra program ini adalah Karang Taruna Kandri dengan peserta adalah remaja yang mau dan mampu mengikuti program sampai akhir dan berkomitmen untuk menjadi kader pelaku seni Desa Wisata Kandri. Program ini dilaksanakan melalui tahapan pra-pelaksanaan, pelaksanaan, dan evaluasi. Tahap pelaksanaan terdiri atas inovasi tari, sosialisasi, pelatihan, dan pendampingan. Evaluasi hasil pelatihan dilakukan dengan pengamatan di setiap sesi pelatihan dan penilaian ketrampilan. Hasil kegiatan menunjukkan bahwa 1) sejumlah 15 peserta dapat mengikuti kegiatan dengan baik dilihat dari partisipasi selama mengikuti program dan terdapat peningkatan keterampilan menari, merias, serta berbusana, 2) tersedia kostum dan alat make up yang memadai dan dapat dimanfaatkan oleh masyarakat, 3) terbentuk kader pelaku seni dan penanggung jawab pemeliharaan kostum. Rencana keberlanjutan program diantaranya Tari Catur Wanara secara rutin akan diajarkan kepada masyarakat Desa Kandri, dipentaskan pada hari besar dan menjadi tari penyambutan tamu bagi wisatawan.Abstract: The potential of dance in Kandri Tourism Village is hampered by the lack of interest from young people and the frequency of performances is only once a year. To overcome this, the purpose of this activity is to provide dance innovations inspired by the Legend of Goa Kreo in Kandri Village to realize the regeneration of artists and Kandri educational tourism. The partner of this program is Karang Taruna Kandri with participants being teenagers who are willing and able to follow the program until the end and are committed to becoming cadres of artists in Kandri Tourism Village. This program is implemented through pre-implementation, implementation, and evaluation stages. The implementation stage consists of dance innovation, socialization, training, and mentoring. Evaluation of training results is carried out by observing each training session and assessing skills. The results of the activity show that 1) a total of 15 participants were able to participate well in the activity as seen from their participation during the program and there was an increase in their dancing, make-up, and clothing skills, 2) adequate costumes and make-up tools are available and can be used by the community, 3) a cadre of artists and a person responsible for costume maintenance was formed. The program's sustainability plan includes the Catur Wanara Dance being taught regularly to the Kandri Village community, performed on major holidays, and being a welcoming dance for tourists.
The symbolic meaning of the Wura Bungi Monca dance movements in Maria Village, Bima Regency Ani Nur Auliyatun Latifah; Lesa Paranti
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 9 No. 1 (2025): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v9i1.37888

Abstract

Wura Bongi Monca is a traditional welcoming dance of the Bima community that has undergone a transformation from the royal court dance of the Mbojo Sultanate into a contemporary creative dance performed in various cultural institutions, including Sanggar La Diha in Maria Village, Bima Regency. Despite its evolution, the symbolic representations and cultural meanings embedded within its choreographic structure remain underexplored within the sociocultural context of the local community. This study aims to examine the semiotic dimensions of the Wura Bongi Monca dance movements as performed in Sanggar La Diha elucidating their symbolic and cultural significance in the collective identity of the Maria Village community. Employing a qualitative research methodology with a semiotic approach. Semiotics is used in this research to explore and interpret symbols and meanings in the Wura Bongi Monca dance movements. This study integrates data collected through participant observation, in-depth interviews, and documentary analysis. The research informants include choreographers from the Mbojo Sultanate and Sanggar La Diha, historians, cultural experts, traditional leaders, dancers, and community members. The findings indicate that Wura Bongi Monca plays a pivotal role in the sociocultural fabric of Maria Village. This dance serving both ceremonial and entertainment functions. The choreographic consists of distinct symbolic movements, including paleo, palika, lele, foka, horma, and mangko, which are emblematic of Bima’s traditional dance heritage. The semiotic analysis reveals that these movements convey profound meanings: rai lu’u symbolizes the reception of blessings, lele represents resilience, sangge’de mangko signifies strength, paleo reflects consciousness, foka denotes openness, horma expresses supplication, wura bongi and kakiri kamai signify hospitality, kidi boko embodies power, and lampa palika-losa represents courtesy.   Tari Wura Bongi Monca merupakan tari penyambutan tamu khas masyarakat Bima yang mengalami transformasi dari Tari Istana Kesultanan Mbojo menjadi tari kreasi baru yang berkembang di berbagai sanggar, termasuk Sanggar La Diha di Desa Maria, Kabupaten Bima. Meski telah mengalami modifikasi, simbol dan makna yang terkandung dalam gerak tari ini belum banyak dikaji secara mendalam dalam konteks budaya masyarakat setempat. Tujuan penelitian ini adalah untuk menganalisis gerak Tari Wura Bongi Monca di Sanggar La Diha yang sarat akan simbol dan makna kehidupan masyarakat Desa Maria. Metode penelitian menggunakan metode kualitatif dengan pendekatan semiotika. Semiotika digunakan dalam penelitian ini untuk menelusuri dan menginterpretasikan simbol serta makna pada gerak Tari Wura Bongi Monca. Teknik pengumpulan data berupa observasi, wawancara, dan dokumentasi. Narasumber penelitian ini adalah koreografer dari Kesultanan Mbojo dan Sanggar La Diha, sejarawan, budayawan, pemangku adat, penari, serta masyarakat Desa Maria. Hasil penelitian menunjukkan Tari Wura Bongi Monca berperan penting dalam kehidupan sosial budaya masyarakat Desa Mari. Tarian ini digelar untuk penyambutan tamu dan hiburan masyarakat Desa Maria. Simbol gerak Tari Wura Bongi Monca yaitu, paleo, palika, lele, foka, horma, dan mangko. Gerak tersebut yang menjadi ciri khas gerak tari di tanah Bima. Makna gerak Tari Wura Bongi Monca yaitu, rai lu’u bermakna menjemput berkah, lele bermakna ketegaran, sangge’de mangko bermakna kekuatan, paleo bermakna kesadaran, foka bermakna keterbukaan, horma bermakna permohonan, wura bongi dan kakiri kamai bermakna selamat datang, kidi boko bermakna kekuatan, dan lampa palika-losa bermakna kesopanan.
Co-Authors Abda Abda Abdul Basyith Abdul Malik Abdullah, Muhammad Syukri Afiyah, Junita Dewi Al-Faruq, Moh. Yudik Amidi Amidi, Amidi Anggita Febriana Putri Ani Nur Auliyatun Latifah Benny Sumardiana Bintang Hanggoro Putro Bisri, Muhammad Hasan Briliyan Yusuf Ananto Chrisan Tiyansa Elisabet, Camelia Yunika Ema Butsi Prihastari Ratna Widyaningrum, Ema Butsi Prihastari Fabiyanto, Enggan Farkhatunnisa, Alif Fauzizah, Ardha Dwi Firdaus, Zana Saevanti Hanif, Miftahudin Ilyas Ilyas Ista, Immanuel Ananda Izzati, Mutiara Nur Jirajarupat, Phakamas Joko Wiyoso Karsinah Khamdani, Muhammad Latifah, Ani Nur Auliyatun Lungguh, Lungguh M. Yogi Riyantama Isjoni Maghfiroh, Anik Maria Krisnawati Marsiana, Deva Marsiana, Deva Melati, Dinda Muarifuddin Muarifuddin Muarifuddin Muhammad Jazuli Muhammad Soleh Nadia Sigi Prameswari Nafi, Zidna Ilma Nafik Salafiyah Nahdiah, Dina Nur Fadilla Fitriani Nurdian Susilowati Nurdin, Ananda Risky Primantari, Irfanny Okta Putri, Anggita Febriana Putri, Rimasari Pramesti Putri, Rimasari Pramesti Radliah Zahra Hanun Rahina Nugrahani Restu Lanjari Rochmat Supanto Rohmayani, Wulan Suci Nur Romayani, Wulan Suci Nur Safira, Mei Arum Septiani, Elza Sestri Indah Pebrianti Slamet MD Sungkowo Edy Mulyono Supanto, Rochmat wafa, mochammad usman Zidna Ilma Nafi zulfa, nely