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Erlina Pantja Sulistijaningtijas
ISI YOGYAKARTA
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MANTODEA: KOREOGRAFI VISUALISASI SIKLUS HIDUP BELALANG SEMBAH Agung Yunandi Kristianto; Raja Alfirafindra; Erlina Pantja Sulistijaningtijas
Joged Vol 18, No 2 (2021): OKTOBER 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v17i2.6336

Abstract

RINGKASANMANTODEA merupakan karya tari yang memvisualisasikan siklus hidup dan gerak-gerik Belalang Sembah dewasa hingga Nimfa (bayi Belalang Sembah). Kata MANTODEA diambil dari ordo mantodea, yang dalam bahasa Yunani berarti satu jenis Belalang Sembah. Gerak-gerik yang dihadirkan dalam karya tari ini adalah simbolisasi sikap Belalang Sembah disaat diam, gerakan merangkak dan gerakan ngoyok kanan dan kiri (badan seperti tertiup angin). Ide koreografi MANTODEA mempunyai keunikan tersendiri. Keunikan tersebut terdapat pada postur tubuh penata tari sendiri yang ternyata mirip Belalang Sembah. Selain kemiripan postur tubuh, penata juga tertarik pada kehidupan Belalang Sembah yang mandiri dan memiliki cinta sejati. Kemandirian disaat menjalani kehidupan. Cinta sejati disaat Belalang Sembah jantan rela mati demi membuahi sel telur. Melalui karya tari ini diharapkan memberikan inspirasi untuk belajar mandiri dan rela berkorban untuk kehidupan selanjutnya.ABSTRACTMANTODEA is the title of this dance work. The concept presented is a visualization of the life cycle and movements of Praying Mantis. The word MANTODEA is taken from the order of mantodea. The order of mantodea adapted from Greek which means one type of praying Mantis. The life cycle that is visualized in this dance work is from adult Mantiss to nymphs (Praying Mantis baby). The movements that are presented in this dance work are symbolic of the attitude of the Praying Mantis while still, crawling movements and movements of the right and left (body like blowing in the wind). The compilation of the MANTODEA choreography is unique. The uniqueness is found in the posture of the dance stylist himself who turns out to be like the Praying Mantis as the main object. Besides the similarity of the same posture the stylist is also interested in his life. The interest of the dance stylist in the life of Praying Mantis is independence and true love. Independence while living life. True love when male locusts are willing to die to fertilize an egg. Through this dance work is expected to be able to learn independently and be willing to sacrifice.
Aswacitta: Perjalanan Kontrol Nafsu dalam Penari Jaranan Sandur Zulkarnain Yanizar Firdaus; Raja Alfirafindra; Erlina Pantja Sulistijaningtijas
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 1 (2023): Vol 17, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

“Aswacitta” diciptakan dan dibentuk menjadi koreografi utuh dengan didasari oleh rangsang gerak dan idesional. Rangsang gerak didapatkan dari mengamati motif-motif dalam kesenian Sandur Bojonegoro lebih khusus adegan Jaranan Sandur, selain rangsang gerakan karya ini juga menggunakan rangsang gagasan yakni dari pemaknaan Jaranan Sandur sebagai penggambaran simbol nafsu dalam diri manusia, dipentaskan di awal pertunjukan Sandur sebagai pengingat untuk setiap manusia ketika akan memulai pertunjukan Sandur terlebih dahulu mengontrol nafsu dalam diri manusia, rangsang gagasan ini juga menjadi tema dalam karya tari ini berupa perjalanan kontrol nafsu dalam diri penari Jaranan Sandur.Karya tari ini akan diciptakan dalam bentuk koreografi kelompok berdurasi 27 Menit, mengulas tentang perjalanan kontrol nafsu dalam diri penari Jaranan Sandur dengan menggunakan dasar pengembangan gerak-gerak Sandur Bojonegoro didukung dengan visualisasi artistik sebagai simbol agar makna dan tujuan dari karya ini dapat tersampaikan, karya tari ini menggunakan acuan sumber-sumber tertulis salah satunya, Alma Hawkins dengan bukunya Moving From Within dan narasumber Jaranan Sandur memperkuat sumber acuan dalam berkarya.Karya tari “Aswacitta” disajikan oleh 8 penari, dengan format live performence dengan iringan musik live yang menggunakan tipe tari dramatik. Motif dalam kesenian Sandur Bojonegoro lebih khusus adegan Jaranan Sandur yakni Ukel Gejug, Anjerbabah awe-awe, Tanjak Njaran, Ngegol, Ndegar, Ngledhot, dan juga motif-motif Jawa Timuran gagrag Mataraman menjadi bekal penata untuk menyusun karya ini.Aswacitta: The Journey of Lust Control in the Jaranan Sandur Dancer"Aswacitta" was created and formed into a whole choreography based on motion and ideational excitatory. motion excitatory is obtained from observing motion motifs in Sandur Bojonegoro Performence, specifically the Jaranan Sandur scene, in addition to movements excitatory this dancework also uses ideas excitatory, from the meaning of Jaranan Sandur as a symbol of lust in each human being, staged at the beginning of the Sandur performance as a reminder to every human being when before to start the Sandur performance first controls the lust in each human being, this idea is also the theme in this dance work, namely the journey of lust control in the Jaranan Sandur dancer.This dance work was created in the form of group choreography with a duration of 27 minutes, telling about the journey of controlling the lust of Jaranan Sandur dancer using the basis of the development of Sandur Bojonegoro's movements supported by artistic visualization as a symbol so that the meaning and purpose of this dance work can be conveyed, this dance work uses references to written sources, one of which is, Alma Hawkins with his book Moving From Within and the results of interviews of resource Jaranan Sandur's person to strengthen the source of reference in dance work.The dance work "Aswacitta" is presented by 8 dancers, with a live performence format with live music accompaniment using a dramatic dance type. The motifs in the Sandur Bojonegoro Performence are more specifically Jaranan Sandur scenes, namely Ukel Gejug, Anjerbabah awe-awe, Tanjak Njaran, Ngegol, Ndegar, Ngledhot, and also East Javanese motifs gagrag Mataraman as a provision for the choreographer to formed this dance work.
CEMBENGAN KOREOGRAFI YANG TERINSPIRASI DARI TRADISI UPACARA TEBU MANTEN Nugratama, Anas Faizal; Alfirafindra, Raja; Sulistijaningtijas, Erlina Pantja
Joged Vol 24, No 1 (2025): APRIL 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v24i1.15206

Abstract

RINGKASANKarya “Cembengan” adalah koreografi yang terinspirasi dari makna nilai-nilai tradisi budaya pada upacara tradisi Cembengan. Upacara tradisi Cembengan merupakan ritual yang dilakukan oleh para pekerja di dalam pabrik gula Madukismo untuk meminta keselamatan dan hasil produksi yang baik. Upacara tradisi Cembengan dilaksanakan pada saat panen tebu sebelum dimulainya produksi penggilingan tebu. Keseluruhan prosesi dan simbol-simbol yang memiliki makna filosofis pada upacara tradisi Cembengan, terdapat 3 bagian prosesi upacara tradisi Cembengan yang menarik perhatian penata untuk diulas kedalam bentuk konsep koreografi kelompok, yaitu prosesi Petik Tebu Manten, prosesi Pingit Tebu Manten, prosesi Arak-arakan Cembengan. Karya tari berjudul “Cembengan” ini digarap dalam bentuk koreografi kelompok, ditarikan oleh lima penari putri dan empat penari putra.ABSTRACTThe work "Cembengan" is a choreography inspired by the meaning of cultural tradition values in the Cembengan traditional ceremony. The Cembengan tradition ceremony is a ritual performed by workers at the Madukismo sugar factory to ask for safety and good production results. The Cembengan tradition ceremony is carried out during the sugarcane harvest before the start of sugarcane milling production. The entire procession and symbols that have a philosophical meaning in the Cembengan traditional ceremony, there are 3 parts of the Cembengan traditional ceremony procession that attract the attention of the stylist to be reviewed in the form of a group choreography concept, namely the Manten Sugar Cane Picking Procession, the Manten Pingit Cane Procession, the Cembengan Procession. The dance work entitled "Cembengan" is worked on in the form of group choreography, danced by five female dancers and four male dancers.
The Forbidden Forest Myth as a Social and Ecological Asset in the Kajang Community Dewi, Susi Fitria; Yulika, Febri; Wirdanengsih, Wirdanengsih; Maijar, Andri; Sulistijaningtijas, Erlina Pantja; Sakti, Reza Ginandha
Jurnal Ilmiah Peuradeun Vol. 13 No. 3 (2025): Jurnal Ilmiah Peuradeun
Publisher : SCAD Independent

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26811/peuradeun.v13i3.1456

Abstract

The construction of the forbidden forest myth within the Kajang indigenous community of South Sulawesi, Indonesia, transcends mere social practice, serving as a potential asset in natural resource management rooted in local wisdom—a crucial aspect that remains underexplored in existing literature. This study aims to address this research gap by elucidating the characteristics, factors, and implications of the forbidden forest myth’s construction as a valuable resource in ecologically-based natural resource management. Employing a qualitative descriptive case study approach, this study reveals three significant findings. Firstly, the forbidden forest myth constructed by the Kajang indigenous people has evolved into a social institution governing the management and utilization of natural resources. Secondly, the myth’s influence permeates virtually all aspects of Kajang’s indigenous life. Thirdly, the construction of this myth has fostered a proactive attitude towards natural resource management and utilization within the Kajang community. This study also recommends comparative analyses of values, norms, and local wisdom across various indigenous communities in the context of natural resource management practices.
Co-Authors Agung Yunandi Kristianto Alfirafindra, Raja Andri Maijar Dewi, Susi Fitria Febri Yulika Nugratama, Anas Faizal Raja Alfirafindra Sakti, Reza Ginandha Wirdanengsih, Wirdanengsih Zulkarnain Yanizar Firdaus