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All Journal Acintya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Seni Tari
Kaeksi, Maharani Hares
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Arts Humanities Education Languange, Linguistic, Communication & Media Other

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TRANSFORMASI WARAK NGENDHOG MENJADI TARI WARAK DHUGDHER DI KOTA SEMARANG Kaeksi, Maharani Hares; Fitriasari, Rr. Paramitha D.; Sushartami, Wiwik
Jurnal Seni Tari Vol 9 No 1 (2020): Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (233.15 KB) | DOI: 10.15294/jst.v9i1.36954

Abstract

Warak ngendhog was originally a toy that was sold and then used as a mascot for the dhugdheran procession. The change later happened that Warak Ngendhog was used as a source of inspiration for the artist to create the Warak Dhugdher dance. Since its presence, the dance brings influence in the city of Semarang. This influence led to the emergence of new forms of Warak dance. This fact shows that the Ngendhog Warak underwent a change to dance Warak Dhugdher. This research aims to identify the form of transformation that occurred and explain the progress of dance Warak Dhugdher. This research is a qualitative study using the etnokoreological approach, which is a dance analysis system that is not merely discussing textual, but also contextual. Analysis of transformation using adaptation theory. The results showed that transformation occurred due to the adaptation process manifested through the creation of dance. Forms of transformation that occur include textual and contextual transformations. Textual transformation is manifested from the addition of the dance choreography aspect as an art show. Warak as property on the dance changes on the structure of the head shape, stomach pattern, and absence of Endhog. The contextual transformation that occurs indicates a change in form, meaning, and function that causes development. The Warak transformation of Ngendhog does not stop at the dance form of Warak Dhugdher, but it can develop into another Warak dance form.
Exploring the traditional ritual of Jaran Kepang Papat: context, heritage, and significance Rr. Paramitha Dyah Fitriasari; Maharani Hares Kaeksi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 18 No. 2 (2023)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v18i2.4896

Abstract

This paper investigates the traditional ritual of Jaran Kepang Papat, examining its contextual significance, cultural heritage, and the profound role it plays within the Indonesian cultural landscape. Jaran Kepang Papat is a unique and captivating ritual deeply rooted in Javanese culture. Through an interdisciplinary exploration encompassing anthropology, history, and cultural studies, this research unravels the intricate web of meaning and symbolism embedded in the ritual. The method employed in this research is descriptive qualitative. Researchers initiated the data collection process through in-depth interviews with ritual participants, community leaders, and cultural experts knowledgeable about Jaran Kepang Papat. These interviews provide comprehensive insight into the history, meaning, and significance of this ritual. Additionally, researchers engaged in participatory observation during the implementation of the ritual to gain a direct understanding of how it is carried out and experienced by the participants. The paper concludes by emphasizing the importance of understanding and safeguarding Jaran Kepang Papat as a valuable cultural treasure, advocating for its continued recognition and appreciation within the broader cultural discourse. This exploration serves as a testament to the enduring significance of traditional rituals in our globalized society, offering valuable insights into the preservation and appreciation of cultural heritage.
THE DEVELOPMENT OF WARAK DANCE PRESENTATION FORMS IN SEMARANG CITY Kaeksi, Maharani Hares
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7666

Abstract

The Warak Dhugdhèr dance is a form of creation dance in Semarang city. In its performance, the dance brings the property of warak ngêndhog, a mythological creatures in the dhugdhèran tradition symbolizing the unity of Javanese, Chinese, and Arabic cultures. This dance was created by Didik Nini Thowok and Yoyok Bambang Priyambodo and first performed was in 2006. In its development, innovations emerged in new Warak dance forms that were performed at the Warak Dance Festival and also in the community environment. This study aims to analyze the development of Warak dance presentation forms that have grown and developed in Semarang. This study uses a qualitative research method with an ethnochoreology approach in its application. The methods applied in this study consist of the stages of problem identification, data collection, data analysis, and conclusions. The findings reveal that adaptation and innovation are manifested in structural changes, such as choreography, music, makeup and costume, and the form of warak itself. Three main directions of development: the preservation of Warak ngêndhog iconography as properties, adaptation to the socio-cultural context, and the emergence of several new forms of Warak Dance such as the Manggar Warak dance, Ronggeng Warak dance, and Semarak Warak dance. These developments are driven by the creative reinterpretation of the artists who created it, government policies regarding culture, and community participation. This study concludes that new forms of Warak Dance have grown dynamically through processes of adaptation and innovation. Innovation and development efforts are also continuously carried out in order to adapt to the socio-cultural conditions in Semarang city.
Ambivalence of Hospitality Symbols: Representation and Gender Stereotypes in Tari Sekapur Sirih Jambi Sholikhah, Rahmatika Luthfiana; Kaeksi, Maharani Hares; Affandi, Kiki Maulana
Acintya Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

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Abstract

This article examines women’s representation in Tari Sekapur Sirih Jambi as a symbolic practice that contains an ambivalence between gender glorification and restriction. As a welcoming dance, Tari Sekapur Sirih positions women as bearers of betel leaves and as the central figures of the performance, representing values of hospitality, politeness, and honor within the Malay culture of Jambi. This study employs a qualitative approach with a semiotic reading of symbols, movements, and performance structures. The analysis shows that the symbol of betel leaves and the gentle quality of women’s movements construct a myth of ideal femininity that normalizes women’s roles as hosts and guardians of social harmony. This representation is ambivalent because, on the one hand, it elevates women as symbols of cultural honor, while on the other hand it reproduces gender stereotypes that limit women’s expression and agency within the performance structure. This article argues that Tari Sekapur Sirih can be understood as a cultural text that reflects the relationship between tradition, symbolism, and gender construction in Malay Jambi society.
Co-Authors Affandi, Kiki Maulana Fitriasari, Rr. Paramitha D. Rr. Paramitha Dyah Fitriasari Sholikhah, Rahmatika Luthfiana Wiwik Sushartami