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All Journal Gelar : Jurnal Seni Budaya Gesture: Jurnal Seni Tari Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
cahyasari, indah
Institut Seni Indonesia Surakarta
Arts Humanities Education

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Fungsi Belajar Tari Srimpi Sangupati Gaya Kasunanan Bagi Penari di Keraton Surakarta indah cahyasari
Gelar : Jurnal Seni Budaya Vol 18, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v18i1.2769

Abstract

Srimpi Sangupati dance has beauty which is visualized by smooth move and in flow. The Process of Srimpi Sangupati dance creation is created based on devotion to life experience, that is why Srimpi Sangupati dance is full of education value. This writing is for analyzing kinds of benefits in learning Srimpi Sangupati Dance in Kasunanan Style. This research analysis process uses qualitative approach. Qualitative descriptive research method is done by study book, observation and interview. The research result concludes that learning Srimpi Sangupati in Kasunanan Style has benefits for ethics education, social, religious and cognitive  source.
Makna Tanda dalam Struktur Fragmen Tari Topeng Sekartaji Karya S. Ngaliman: Kajian Semiotika Fredinand de Soussure Cahyasari, Indah; Paimin, Paimin
Gesture: Jurnal Seni Tari Vol. 15 No. 1 (2026): Gesture: Jurnal Seni Tari (April)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v15i1.71097

Abstract

This study aims to analyze the meaning of sign structures in the dance fragment Topeng Sekartaji by S. Ngaliman using Ferdinand de Saussure’s semiotic approach. This research is motivated by the limited interpretative readings of dance works. Although Topeng Sekartaji is frequently performed in various events, the understanding of its structural meaning has not been widely explored; thus, the symbolic meanings constructed through elements such as movement, mask, character, music, and costume are not yet fully interpreted. The focus of this study lies in examining the relationship between the signifier and the signified as manifested through choreographic elements. This study employs a qualitative case study method with a non-participatory observation technique using documentation from the UPT Audio Visual ISI Surakarta YouTube channel, recorded during a performance on January 17, 2019, in the event “Mengenang Gendhon Humardani & Agus Tasman. ”The findings reveal that the Topeng Sekartaji dance fragment serves as a symbolic representation of the emotional relationship between Sekartaji, Panji, and Klana. Panji signifies wisdom, patience, and gentleness, whereas Klana represents anger, ambition, and aggression. Sekartaji symbolizes the ideal Javanese woman, characterized by grace, patience, and devotion. The denotative meaning of this dance reflects a love triangle narrative, while its connotative meaning embodies Javanese philosophical values concerning loyalty, honor, and the duality of good and evil.
TUBUH YANG BERTAHAN: STRATEGI SINDEN MAHASISWA MENGELOLA KRAM DI ATAS PANGGUNG Anantha Angriany Sitio; Indah Cahyasari; Rudi Punto Prabowo; Bagas Surya Muhammad
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 25 No. 2 (2025): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

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Abstract

The purpose of this study is to identify the forms of stage adaptation performed by student sinden (female vocalists in Javanese gamelan) when experiencing leg cramps during a live performance. During performances lasting approximately 40 to 50 minutes, the sinden sit in a static kneeling position, which can lead to muscle tension and cramps in the legs. This condition requires each sinden to develop adaptive strategies to maintain the quality of their vocal and expressive performance despite the physical constraints experienced during the performance. This study employs a qualitative method with a case study approach. The approach was chosen because the research focuses on the phenomenon of cramps experienced by student sinden during recital examinations at the Indonesian Institute of the Arts (ISI) Surakarta. Of the ten sinden who performed, four were selected as research subjects based on varying levels of cramp intensity. In-depth exploration was conducted to reveal their experiences and stage adaptation strategies used to maintain vocal performance and artistic presence amid physical limitations during the performance. The results show four forms of stage adaptation performed by student sinden during the performance: (1) motor stimulation of the right leg, (2) calf muscle stimulation, (3) massage of the calf and shin area, and (4) repositioning of the hands resting on the legs. These adaptations were not performed simultaneously but were adjusted according to each sinden’s physical condition and vocal role. These adaptive activities were generally performed during musical sections without vocals, while during vocal sections, the sinden focused their attention on voice control and musical expression.
Co-Authors Anantha Angriany Sitio Bagas Surya Muhammad Paimin Paimin, Paimin Rudi Punto Prabowo