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All Journal JOGED Gelar : Jurnal Seni Budaya IDEA: Jurnal Seni Pertunjukan
Alfirafindra, Raja
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Other

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 1 
PERAN MAJLIS PUSAT PERTUBUHAN-PERTUBUHAN BUDAYA MELAYU SINGAPURA DALAM FESTIVAL TARI SERUMPUN Mr. RAJA ALFIRAFINDRA
Joged Vol 3, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v3i1.59

Abstract

ABSTRACT Majlis Pusat Pertubuhan-Pertubuhan Budaya Melayu Singapura, merupakan satu di antara badan-badanBudaya Melayu yang tertua di Singapura. Sebelumnya dikenal Sriwana yang telah membuktikan danmemainkan peran dalam mengetengahkan warisan budaya Melayu di Singapura dari tahun 1955 sampaisekarang. Kedua badan ini berjalan seirama sesuai dengan peran masing-masing guna mengangkat martabatmasyarakat Melayu di Singapura. Sriwana dalam kehadirannya lebih memokuskan pada kesenian baik tari,musik, dan teater, sedangkan Majlis Pusat Pertubuhan-Pertubuhan Budaya Melayu Singapura lebihmenekankan pada pelestarian kegiatan keagamaan, kebangsaan, dan kebudayaan yang merupakan identitasbudaya Melayu.
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.
The philosophical values of Rejang Dayung as an ancient dance inherited from Pura Luhur Batukau, Tabanan, Bali I Wayan Dana; Raja Alfirafindra; Agustin Anggraeni
Gelar : Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5355

Abstract

Rejang Dayung is an ancient dance inherited from the ancestors, serving a ritualistic function at Pura Luhur Batukau. It is exclusively performed in Jaba Tengah or the media mandala (living room) during the Sinineban (closing) ceremony at Pura Luhur Batukau. Noteworthy for its straightforward expressions in movements, floor patterns, costumes, and accompaniment, this dance merits scholarly investigation. The objectives of this study are to elucidate the philosophical value of Rejang Dayung performance as an ancient dance inherited from Pura Luhur Batukau, examine the correlation between the philosophical value of Rejang Dayung and the societal beliefs of Pura Luhur Batukau, and expound upon the significance of Rejang Dayung's philosophical value based on the concepts of Satyam (truth), Shivam (holiness), and Sundaram (beauty). The authors employed a qualitative method, incorporating field observation and interview techniques to gather data and ascertain the initial presentation of Rejang Dayung. The study's findings unequivocally reveal the philosophical values of Rejang Dayung and the embodiment of the Tri Hita Karana teachings (Balinese concepts for creating harmony), which encompass harmonious relationships between humans and God, humans and fellow humans, and humans and the universe. The philosophical value of Rejang Dayung signifies a profound surrender to the magnificence of Ida Sanghyang Widhi Wasa, God the Greatest, manifested through the collective choreography in pairs, symbolizing the convergence of Shiva-Parwati energy. This convergence, perceived by the people of Pura Luhur Batukau as the guardian of harmony in the universe and its constituents, underscores the dance's cultural and spiritual significance.
ENIGMA: KARYA TARI VIDEO YANG TERINSPIRASI DARI TENGGELAMNYA KAPAL VAN DER WIJKs Rahmat, Faet Oktadea; Alfirafindra, Raja; Heryadi, Dindin
Joged Vol 23, No 2 (2024): OKTOBER 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i2.14162

Abstract

RINGKASAN“Enigma” adalah koreografi yang terinspirasi dari rangsang ideasional dari film Tenggelamnya Kapal Van Der Wijk, yang mengangkat tentang pergulatan hati Hayati sebagai gadis Minangkabau dalam menentukan pilihan cintanya. Dilema dari seorang Hayati adalah menentukan pilihan kepada Zainuddin yang tidak memiliki suku dari adat Minangkabau –ykni keturunan Bugis--atau mengikuti adat yang berlaku dan aturan dari keluarga Hayati yang harus menikah dengan lelaki yang bersuku, beradat, berlembaga, dan berketurunan yang jelas asal usulnya. Karya tari “Enigma” disajikan oleh 3 penari, dengan format tari video dengan pengambilan long take, tracking one shoot yang merupakan salah satu teknik sinematografi di dalam tari video yang menggunakan tipe tari dramatik yang diadaptasi dari visual film Tenggelamnya Kapal Van Der Wijk. Motif silat Minangkabau yang dimunculkan ialah beberapa silat Minangkabau yaitu motif dari Silek Tuo Langkah Nan Ampek, dan juga beberapa motif tari Minangkabau, seperti tari Pasambahan, dan tari Piring ABSTRACTThis “enigma” was created and shaped into a complete choreography based on the idea or idea. This stimulus can be seen from several scenes from the movie Sinking of the Van Der Wijk Ship which concerns the dilemma. From the film Tenggelamnya Kapal Van Der Wijk, it is taken from the outline of the interpretation of the dilemma of a Hayati between her choice of love for Zainuddin who does not have a tribe from Minangkabau customs and also the dilemma of the prevailing customs and the rules of the Hayati family who must marry a tribal, customary man, institutionalized, and hereditary with a clear origin. The dance work "Enigma" is presented by 3 dancers, in a video dance format by taking long take, tracking one shot, which is one of the cinematographic techniques in video dance that uses a dramatic dance type adapted from the visual film Tenggelamnya Kapal Van Der Wijk. The Minangkabau silat motifs that appear are several Minangkabau silat motifs from Silek Tuo Step Nan Ampek, and also several Minangkabau dance motifs, such as the Pasambahan dance, and the Piring dance.
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 philosophical values of Rejang Dayung as an ancient dance inherited from Pura Luhur Batukau, Tabanan, Bali Dana, I Wayan; Alfirafindra, Raja; Anggraeni, Agustin
Gelar: Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5355

Abstract

Rejang Dayung is an ancient dance inherited from the ancestors, serving a ritualistic function at Pura Luhur Batukau. It is exclusively performed in Jaba Tengah or the media mandala (living room) during the Sinineban (closing) ceremony at Pura Luhur Batukau. Noteworthy for its straightforward expressions in movements, floor patterns, costumes, and accompaniment, this dance merits scholarly investigation. The objectives of this study are to elucidate the philosophical value of Rejang Dayung performance as an ancient dance inherited from Pura Luhur Batukau, examine the correlation between the philosophical value of Rejang Dayung and the societal beliefs of Pura Luhur Batukau, and expound upon the significance of Rejang Dayung's philosophical value based on the concepts of Satyam (truth), Shivam (holiness), and Sundaram (beauty). The authors employed a qualitative method, incorporating field observation and interview techniques to gather data and ascertain the initial presentation of Rejang Dayung. The study's findings unequivocally reveal the philosophical values of Rejang Dayung and the embodiment of the Tri Hita Karana teachings (Balinese concepts for creating harmony), which encompass harmonious relationships between humans and God, humans and fellow humans, and humans and the universe. The philosophical value of Rejang Dayung signifies a profound surrender to the magnificence of Ida Sanghyang Widhi Wasa, God the Greatest, manifested through the collective choreography in pairs, symbolizing the convergence of Shiva-Parwati energy. This convergence, perceived by the people of Pura Luhur Batukau as the guardian of harmony in the universe and its constituents, underscores the dance's cultural and spiritual significance.
SHANG: KOREOGRAFI YANG TERINSPIRASI DARI PROBLEMATIKA SAHANG (LADA) DI BANGKA Rezika Mariandy Karim; Raja Alfirafindra; Setyastuti Setyastuti
Joged Vol 25, No 1 (2026): APRIL 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v25i1.19864

Abstract

ABSTRAKShang merupakan karya tari video yang berangkat dari problematika pergeseran popularitas sahang atau lada di pulau Bangka Belitung dengan hadirnya tambang timah. Karya tari video ini menyampaikan tentang keterpurukan yang terjadi pada popularitas sahang dan juga kondisi alam Bangka yang semakin rusak. Tata panggung berupa pasir, sahang, junjung, daun kering, dan juga daun hijau menjadi bagian artistik pendukung karya tari video Shang.Motif gerak ragam dua dan ragam tiga dari tari Kedidi yang merupakan tari tradisional di daerah Bangka menjadi dasar pijakan dengan pengembangan aksi gerak dan disajikan dalam bentuk koreografi tunggal. Pemilihan musik tari dengan menampilkan iringan dambus, vokal daek, dan elemen suara tambang timah serta air menjadi penguat penyampaian alur dramatik.Hasil akhir dari proses produksi Shang berupa dance film yang menggunakan tiga sudut pandang pengambilan video di antaranya follow, top angle, dan high angle, dan juga tiga teknik pengambilan video di antaranya long shot, one shot one kill, dan juga insert.ABSTRACTShang is a video dance work that departs from the problem of shifting the popularity of sahang or pepper on the island of Bangka Belitung with the presence of a tin mine. This video dance work conveys about the downturn that has occurred in the popularity of sahang and also the natural condition of Bangka which is increasingly damaged. The stage arrangement in the form of sand, sahang, jujung, dry leaves, and also green leaves became an artistic part of the supporting Shang's video dance work. The motifs of the two and three variations of the Kedidi dance, which is a traditional dance in the Bangka area, are the basis for developing the motion of the Shang video dance work combined with modern dance techniques, namely the body wave technique and vibration, presented in the form of a single choreography. The choice of dance music featuring dambus accompaniment, daek vocals, and elements of the sound of tin mines and water strengthens the delivery of the dramatic flow. The final result of Shang's production process is a dance film that uses three video shooting points of view including follow, top angle, and high angle, as well as three video shooting techniques including long shot, one shot one kill, and also insert.
Co-Authors Agung Yunandi Kristianto Agustin Anggraeni Erlina Pantja Sulistijaningtijas I Wayan Dana I Wayan Dana Nugratama, Anas Faizal Rahmat, Faet Oktadea Rezika Mariandy Karim Setyastuti Setyastuti Zulkarnain Yanizar Firdaus