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Karya Tari Sang Kustiah Refleksi Perempuan pada Masa Kini Wisnu Pamenang, Nandhang; Dewi, Maharani Luthvinda; Samsuri, Samsuri
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4325

Kustiah’s dance works contain values and can be used as a reference in current and future life. One of them is that Kustiah’s dance work includes the importance of Unity, Creativity, Tough, and Abstinence, which are philosophical teachings that are upheld and can serve as role models for women at this time in moving forward in their lives. This value can be adhered to and carried out, ultimately giving women a strong character and soul.Keywords: Dance work, Kustiah, reflextion, women.

Function of Topeng Tunggal Dance in Betawi Society Sabillah, Kholifah; Dewi, Maharani Luthvinda; Putro, Renaldi Lestianto Utomo
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 16 No. 1 (2025): Oktober
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/terob.v16i1.97

The Topeng Tunggal Dance is a traditional Betawi art form created by Mak Kinang and Kong Djiun in 1930. The inception of the Topeng Tunggal Dance was inspired by a vision experienced by Mak Kinang, which was subsequently brought to life through dance and musical accompaniment by Kong Djiun. This research aims to explore and understand the values and functions inherent in the Topeng Tunggal Dance. The methodology employed in this study is qualitative, utilizing an analytical descriptive approach and the functional theory of RM. Soedarsono. Data collection techniques include observations, interviews with artists, and documentation. The findings indicate that the Topeng Tunggal Dance embodies two primary values: moral and aesthetic. Additionally, this dance serves three functions: as entertainment, as a performing art, and as a medium for education. These values and functions position the Topeng Tunggal Dance not only as a cultural heritage but also as a means for character development and the preservation of the cultural identity of the Betawi people.

Penguatan Festival Enam Suku Barikan Kubro melalui Penghadiran Karya Tari Baru Renjana Karimunjawa Putro, Renaldi Lestianto Utomo; Dewi, Maharani Luthvinda; Supendi, Eko; Kuncoro, Jonet Sri
Abdi Seni Vol. 14 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i1.5001

Community service activities in Karimunjawa Village aim to strengthen the Barikan Kubro Six Tribe Festival. The goal is motivated by the community's willingness to welcome the post-pandemic period by reactivating festival activities that had stopped. Festival activation has unresolved homework from the last event hosting: no new art creations image the culture of the people of Karimunjawa. New art creations, especially dance in Karimunjawa, are not growing due to a lack of experts and knowledge about dance creation. Therefore, the problem that must be solved is how to create new dance works that can be used to strengthen the festival's implementation. The solution is to create dance works with the local community's cultural background, train the results of the works composition to the public, and promote the composed works through performances. The approach is based on Skinner's concept of habituating behavior modification as a form of cultural reinforcement. Implementation of the creation includes; 1) the preparation stage and 2) the implementation stage. The result achieved from this program is the creation of the dance "Renjana Karimunjawa."

Karya Tari Sang Kustiah Refleksi Perempuan pada Masa Kini Wisnu Pamenang, Nandhang; Dewi, Maharani Luthvinda; Samsuri, Samsuri
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4325

Kustiah’s dance works contain values and can be used as a reference in current and future life. One of them is that Kustiah’s dance work includes the importance of Unity, Creativity, Tough, and Abstinence, which are philosophical teachings that are upheld and can serve as role models for women at this time in moving forward in their lives. This value can be adhered to and carried out, ultimately giving women a strong character and soul.Keywords: Dance work, Kustiah, reflextion, women.

Estetika Tari Betangas pada Sanggar Sultan Nata di Kabupaten Sintang Provinsi Kalimantan Barat Fauziah, Rizka; Widyastutieningrum, Sri Rochana; Dewi, Maharani Luthvinda
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.v14i2.67462

The purpose of this study was to analyze the aesthetic value of Betangas dance at Sanggar Sultan Nata in Sintang Regency. Betangas dance is a new creative dance created by Musliyadi in 2014. Betangas dance uses basic Malay dance movements. This study is a qualitative study with an ethnochoreology approach and descriptive analysis method. Data collection techniques: observation, interviews, and literature studies. The aesthetic value in Betangas dance can be seen in the elements of movement, dance music, floor patterns, costume makeup and properties. The dance movements are inspired by the movements during the Betangas ceremony, the music uses Malay music, uses corrective makeup and costumes based on the Sintang Malay traditional dress, the properties used are woven pandan leaf mats and sarongs or tapeh. The aesthetics of Betangas dance are related to the life value of the Malay community, especially in Sintang Regency.

Synesthesia of IbuIbu Belu: Bodies of Border as Contemporary Dance in Choreomusicology Perspective Dewi, Maharani Luthvinda; Wijayanto, R. Danang Cahyo; Putro, Renaldi Lestianto Utomo
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 10, No 2 (2026): April 2026
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v10i2.25920

Penelitian ini difokuskan pada analisis bentuk sinestetik sebagai hasil perseptual dalam karya tari kontemporer Ibulbu Belu: Bodies of Border (IBUBOB) yang dipentaskan di Teater Besar ISI Surakarta tahun 2022. Urgensi studi ini didasarkan pada fakta bahwa kajian sebelumnya cenderung menganalisis dimensi tari, musik, dan ruang secara terpisah, serta belum memposisikan gejala sinestetik sebagai fokus kajian utama. Penelitian ini mengajukan argumen bahwa bentuk sinestetik adalah sebuah konstruksi perseptual yang dikonstruksi secara kausal oleh strategi koreomusikal dan teknologi pemanggungan. Metode kualitatif deskriptif dengan pendekatan analisis konten dua-tahap (formalis dan resepsi) diterapkan, menggunakan data rekaman audio-visual, observasi, wawancara, dan studi pustaka berupa narasi audiens. Penelitian menemukan hasil dua penyebab utama. Pertama, strategi koreomusikal yang mengintegrasikan body percussion dan instrumen Tihar dalam pola ritmis paralel dan unison. Kedua, desain pemanggungan yang memanfaatkan lantai kayu parkit berlapis vynil sebagai instrumen perkusif pasif dan sonifikasi melalui mic condensor yang mengubah bunyi kinetik subtil (hentakan kaki) menjadi lanskap suara imersif. Temuan membuktikan bahwa kedua elemen teknis ini secara sistematis mengarahkan persepsi audiens, yang termanifestasi dalam narasi sinestetik seperti detak jantung kolektif. Disimpulkan bahwa bentuk sinestetik adalah akibat perseptual yang dapat dirancang secara sadar oleh seniman melalui keputusan teknis yang terintegrasi. Kata kunci: Bentuk, Sinestetik, Tari Kontemporer, IBUBOB, Sonifikasi.

Seni Pertunjukan Sebagai Medium Reintegrasi: Refleksi Program Pelatihan Tari di Rumah Tahanan Negara Kelas I Surakarta Dewi, Maharani Luthvinda; Aminudin, Aminudin; Putro, Renaldi Lestianto Utomo Putro
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 5 No 1 (2026): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v5i1.6069

Pelatihan seni pertunjukan di Rumah Tahanan (Rutan) Kelas I Surakarta merupakan bagian dari upaya reintegrasi sosial yang mengedepankan pendekatan seni sebagai medium pembinaan warga binaan. Kegiatan ini bertujuan untuk membangun rasa percaya diri, kedisiplinan, dan ekspresi positif melalui pelatihan seni pertunjukan yang terstruktur. Melalui metode kolektif partisipatif para peserta pelatihan tidak hanya memperoleh keterampilan artistik, tetapi juga mengalami proses refleksi diri dan pemulihan psikososial. Pelaksanaan kegiatan dilakukan melalui empat tahapan: (1) penjajakan minat; (2) pelatihan intensif olah tubuh dan teknik dasar kepenarian; (3) persiapan pementasan; dan (4) pementasan akhir. Hasil dari pelatihan ini menujukkan bahwa pelatihan seni pertunjukan mampu digunakan sebagai sarana membangun kepercayaan diri bagi warga binaan, mengungkapkan emosi, memperkuat identitas positif, serta menumbuhkan harapan akan kehidupan yang lebih baik setelah masa tahanan. Program ini diharapkan menjadi contoh konkret bagaiamana pelatihan seni dapat berperan sebagai sarana efektif dalam proses rehabilitasi dan reintegrasi sosial warga binaan.

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