<![CDATA[Penelitian tari di perguruan tinggi seni di Indonesia sering kali berhadapan dengan tegangan mendasar: metodologi penelitian konvensional belum mampu menangkap dimensi-dimensi pengetahuan tari yang bersifat korporeal, relasional, dan transmisif. Pengetahuan yang hidup dalam tubuh penari, yang terbentuk melalui proses latihan berulang, hubungan guru-murid, dan penghayatan karakter, kerap luput dari tangkapan instrumen penelitian yang bersifat tekstual dan representasional. Artikel ini menawarkan a/r/tografi sebagai alternatif metodologis yang relevan dan produktif bagi peneliti tari, khususnya mahasiswa pascasarjana program seni pertunjukan. A/r/tografi adalah metodologi penelitian berbasis praktik yang mengintegrasikan tiga identitas yang hadir secara bersamaan, seniman (artist), peneliti (researcher), dan pengajar (teacher), dan mengakui tubuh penari itu sendiri sebagai lokus utama produksi pengetahuan. Berpijak pada karya seminal Springgay, Irwin, Leggo, dan Gouzouasis serta diilustrasikan melalui pengalaman penulis sebagai penari Gatotkaca, artikel ini menjelaskan enam penafsiran inkuiri a/r/tografis, kedekatan, penelitian hidup, metafora/metonimi, permulaan, gema, dan kelebihan, dalam konteks spesifik praktik dan penelitian tari. Artikel ini menunjukkan bahwa proses penghayatan karakter tari, transmisi kosakata gerak, dan refleksi atas pengetahuan yang tersimpan dalam tubuh merupakan bentuk inkuiri ilmiah yang sahih dan ketat. Diargumentasikan bahwa a/r/tografi menempatkan penelitian tari pada martabat yang semestinya, yakni sebagai bentuk pengetahuan yang tidak dapat direduksi ke dalam kerangka metodologi konvensional. Kata Kunci: A/r/tografi; Penelitian Tari; Pengetahuan Korporeal; Penelitian Berbasis Praktik; Tari Gatotkaca. ABSTRACT Dance research in Indonesian arts higher education frequently confronts a fundamental tension: conventional research methodologies have yet to capture the corporeal, relational, and transmissive dimensions of dance knowledge. Knowledge that lives within the dancer's body, shaped through repeated practice, the student-teacher relationship, and the embodiment of character, consistently eludes research instruments that are predominantly textual and representational in nature. This article proposes a/r/tography as a methodologically relevant and productive alternative for dance researchers, particularly postgraduate students in performing arts programs. A/r/tography is a practice-based research methodology that integrates three simultaneously inhabited identities, artist, researcher, and teacher, and recognizes the dancer's body itself as the primary locus of knowledge production. Drawing on the seminal work of Springgay, Irwin, Leggo, and Gouzouasis and illustrated through the author's experience as a Gatotkaca dancer, this article elaborates six renderings of a/r/tographic inquiry, contiguity, living inquiry, metaphor/metonymy, openings, reverberations, and excess, within the specific context of dance practice and research. The article demonstrates that the processes of inhabiting a dance character, transmitting movement vocabulary, and reflecting upon embodied knowledge constitute forms of scientific inquiry that are both legitimate and rigorous. It is argued that a/r/tography situates dance research in its rightful standing, as a form of knowledge that cannot be reduced to the frameworks of conventional research methodology. Keywords: A/R/Tography; Dance Research; Embodied Knowledge; Practice-Based Research; Gatotkaca Dance.]]>
