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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Grenek: Jurnal Seni Musik JOGED Gondang: Jurnal Seni dan Budaya Lectura : Jurnal Pendidikan Sorai: Jurnal Pengkajian dan Penciptaan Musik Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Metafora: Education, Social Sciences and Humanities Journal GETER : Jurnal Seni Drama, Tari dan Musik Journal of Islamic Education for Early Childhood Riwayat: Educational Journal of History and Humanities Cilpa : Jurnal Ilmiah Pendidikan Seni Rupa Majority Science Journal
Rahayu, Eko Wahyuni
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Arts Humanities Biochemistry, Genetics & Molecular Biology Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Pedagogical Development of the Remo Bapang Jatiduwur Dance for Instructional Use at Sanggar Tri Purwo Budoyo Biantoro, Aditya Putra; Yanuartuti, Setyo; Rahayu, Eko Wahyuni
Lectura : Jurnal Pendidikan Vol. 16 No. 2 (2025): Lectura: Jurnal Pendidikan
Publisher : Fakultas Keguruan dan Ilmu Pendidikan (FKIP), Universitas Lancang Kuning

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31849/pr0v0f35

Abstract

The Bapang dance within the Wayang Topeng Jatiduwur tradition in Jombang has experienced a significant decline due to a lack of regeneration, rendering it dormant for years. This study addresses the urgent need for choreographic reconstruction and development of the Remo Bapang Jatiduwur dance as a creative effort to preserve and reintroduce it to contemporary audiences. The objectives are twofold: (1) to describe the choreographic development process of Remo Bapang Jatiduwur as instructional material at Sanggar Tri Purwo Budoyo, and (2) to evaluate its feasibility for pedagogical implementation. The research is grounded in two theoretical frameworks: artistic reconstruction and choreographic development, combined with the concept of studio-based teaching materials. Methodologically, it integrates the Four-D development model (Define, Design, Develop, Disseminate) by Thiagarajan and Hawkins art creation process (exploration, improvisation, and forming). The findings reveal the creation of two choreographic works: a reconstructed version that revives traditional nuances, and a contemporary adaptation designed for educational relevance and inclusivity. Validation by experts and field testing at the studio showed strong cultural resonance, technical feasibility, and learner engagement. This study concludes that the developed choreography is viable for instructional use and contributes meaningfully to the revitalization of local performing arts, providing a sustainable model for heritage-based dance education.
THE FORM OF BALINESE PUSPANJALI DANCE THROUGH AN AESTHETIC APPROACH Paramacitha, Ni Luh N Jeylita; Mariasa, I Nengah; Trisakti, Trisakti; Handayaningrum , Warih; Rahayu, Eko Wahyuni
MSJ : Majority Science Journal Vol. 3 No. 3 (2025): MSJ-August
Publisher : PT. Hafasy Dwi Nawasena

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61942/msj.v3i3.424

Abstract

Dance is a form of expression that reflects human interaction with the environment and culture as a ritual or entertainment art. One of them, Puspanjali Balinese dance is categorized as an entertainment dance in the form of a new creation dance (Balih-balihan Dance). This research examines the aesthetics of the Puspanjali dance form which refers to the aesthetic theory of Satyam, Sivam, Sundaram. The methodology used is descriptive qualitative by conducting observations, interviews with Balinese dance experts and literature studies. The analysis shows that Puspanjali dance movements are performed repetitively consisting of Agem (Agem right and left), Tangkis (Ngegol, Ngegol Nyemak Saput, Angsel, Ngeseh, Jalan swinging hand ukel, Jalan swinging holding saput), Tangkep (Ngliyer, Seledet). This variety of motion refers to pure motion that only shows aesthetics without meaning. This research concludes that the aesthetics of Puspanjali dance form can be seen through the concept of satyam which categorizes Puspanjali dance presentation as Balih-Balihan dance and the concept of sundaram refers to the beauty of Puspanjali dance form. Through the aesthetic approach, this research increases the understanding of Puspanjali dance form.
GENDER LANANG SEBAGAI MANIFESTASI BUDAYA AREK DALAM KARAWITAN JAWA TIMURAN Muzaqqi, Ahmad; Handayaningrum, Warih; Rahayu, Eko Wahyuni
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 16 No. 1 (2023): July
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sorai.v16i1.5666

Abstract

Gender lanang is a dominant instrument in the karawitan gagrak Jawa Timuran, which illustrates how the dialectics of arek culture society are so egalitarian, outspoken, which distinguishes between Surakarta and Yogyakarta styles, with a psychological, social, and cultural approach, how the gender lanang instrument with a high tone depicts the character of arek society in dialect, which in fact the gender lanang instrument uses high notes.
Dramaturgi Emosi dan Identitas Perempuan dalam Film Garis Pilihan: Analisis Front Stage dan Back Stage pada Karakter Mila Paramacitha, Ni Luh N. Jeylita; Handayaningrum, Warih; Rahayu, Eko Wahyuni; Sabri, Indar; Juwariyah, Anik
Riwayat: Educational Journal of History and Humanities Vol 8, No 4 (2025): October
Publisher : Universitas Syiah Kuala

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24815/jr.v8i4.50088

Abstract

The movie Garis Pilihan tells about the journey of Mila, a girl from Sidoarjo who migrates to continue her education at Surabaya State University. Erving Goffman's dramaturgy theory and Wilhelm Wundt's structuralism theory are used to examine Mila's character dualism in the movie Garis Pilihan and real life. The purpose of this research is to see how Mila controls her emotions in the movie and real life. The research of this article uses a descriptive qualitative approach, by collecting data through observation, interviews, and literature review. The closest relatives of Mila's character served as Research informants. The findings show that although Mila is more emotional and expressive when facing various situations in the backstage, she always appears tough and strong on the frontstage. The social roles and emotional frameworks that influence Mila's character can be better understood thanks to this research. In the context of performance and everyday life, this research also presents a new perspective on the relationship between emotional control and social pressure.
The Transformation of Topêng Dhâlâng Top Dance Movements in The Sumenep Style Puspawarna Dance Form Rahayu, Eko Wahyuni; Sudrajat, Arief; Handaningrum, Warih; Sasanadjati, Jajuk Dwi
Metafora: Education, Social Sciences and Humanities Journal Vol. 8 No. 02 (2024): Social Academic
Publisher : Fakultas Ilmu Sosial dan Politik, Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/metafora.v8n02.p51-60

Abstract

Sumenep style Puspawarna Dance, is one of the relatively new forms of choreography based on Madurese ethnic dance, which was created in 2021 by a team of lecturers from Surabaya State University (UNESA). The Sumenep style Puspawarna Dance, in the form of a women's group dance, supported by five dancers, has the theme of offerings, which depicts the girls performing offerings as an expression of gratitude, a request for welfare, and salvation (reject reinforcements). This article aims to reveal about the construction of the Sumenep style Puspawarna Dance form as a result of the transformation of dance movement patterns in Madura topêng dhâlâng performances. The process of movement transformation in the Sumenep Style Puspawarna Dance is carried out through the adoption of several basic movement patterns of male dance in topêng dhâlâng, then adapted or changed to suit the concept of dance forms and themes through distortion and stylization techniques. The results of movement transformation in Puspawarna Dance can enrich the diversity of patterns and movement techniques of Madurese style princess dance, especially Sumenep style. In addition, the results of the transformation of the Sumenep style Puspawarna Dance movement can strengthen the characteristics of the Madurese ethnic princess dance style.
Co-Authors Adawiyah, Saffa’ Rabi’atul Alhaqqi, Soumi Aulia Anggraini, Estu Candra Anik Juwariyah ARIEF SUDRAJAT Biantoro, Aditya Putra Ch.R., Wisma Nugraha Devi Anggraini Handaningrum, Warih Handayaningrum , Warih I NENGAH MARIASA INDAR SABRI Kusmayati, A.M Hermien Muzaqqi, Ahmad Paramacitha, Ni Luh N Jeylita Paramacitha, Ni Luh N. Jeylita SAPUTRI, SUPENI Sasanadjati, Jajuk Dwi Setiyawan, Dimas Bagus Setyo Yanuartuti Trisakti Trisakti Warih Handayaningrum WELLY SURYANDOKO Wicaksono, Pramudya Arif Yuwana, Setya