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Absorpsi Tari Bedhaya Bedhah Madiun Gaya Yogyakarta di Mangkunegaran Masa Pemerintahan Mangkunegara VII S. Sriyadi; Pramutomo R.M.
Jurnal Sejarah Citra Lekha Vol 5, No 1 (2020): Etnisitas, Identitas, dan Kebudayaan
Publisher : Department of History, Faculty of Humanities, Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/jscl.v5i1.26657

The history of dance in Mangkunegaran is basically using the Surakarta style. During the reign of Mangkunegara VII there was the dance called Bedhaya Bedhah Madiun dance with Yogyakarta style. This study tries to describe the factors of Yogyakarta dance style in Pura Mangkunegaran by choosing a specific dance called Bedhaya Bedhah Madiun. This is ethnochoreologiy research using the historical approach. The existence of the Bedhaya Bedhah Madiun dance in Pura Mangkunegaran is mostly influenced by the social and political demands of Mangkunegaran. As the top of the social and political hierarchy in Mangkunegaran, Mangkunegara VII' has policy impacts on the budgetary of the Bedhaya Bedhah Madiun dance in Mangkunegaran. The most challenging policy is the political nuance which is carried out with the Yogyakarta Sultanate Palace. Mangkunegara VII's marriage to Gusti Timur was blessed with a daughter, who is confirmed by her ability in dancing bedhaya and srimpi. Around 1934 Gusti Nurul was permitted to be sent to Krida Beksa Wirama to study the dance bedhaya and srimpi Yogyakarta style. One of the learning materials is the Bedhaya Bedhah Madiun dance, which is then presented at Pura Mangkunegaran.

Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran Sriyadi Sriyadi; R.M. Pramutomo
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 1 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v16i1.3248

Bedhaya Bedhah Madiun dance in Mangkunegaran is a dance repertoire Yogyakarta style that successfully has absorbed from Krida Beksa Wirama during the reign of Mangkunegara VII. Though, based on observation, the presentation style in Mangkunegaran has a significant difference from the Yogyakarta style. This article aimed to study about presentation style of Bedhaya Bedhah Madiun dance in Mangkunegaran to determine the forming of its presentation techniques. This study uses an ethnochoreology approach with archival research methods. The results showed that the style could be change as responses to challenges or problems from the sociocultural conditions. The forming of the Bedhaya Bedhah Madiun dance style in Mangkunegaran does not occur in an event but is a process. The presentation style formed because of a problem with the inheritance system so that it undergoes significant changes. The problem arises from social, political, cultural, and economic conditions. The response against those problems has to form the Bedhaya Bedhah Madiun dance characteristics in Mangkunegaran though not all were positive.

NILAI ESTETIK TARI SRIMPI PANDHELORI DI PURA MANGKUNEGARAN S Sriyadi; Wahyu Santoso Prabowo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Penelitian Nilai Estetik Tari Srimpi Pandhelori di Pura Mangkunegaran bertujuan untuk mendeskripsikan koreografi dan nilai estetik tari Srimpi Pandhelori. Analisis koreografi Srimpi Pandhelori menggunakan konsep koreografi Sumandiyo Hadi. Analisis nilai estetik menggunakan konsep nilai estetik menurut The Liang Gie, yang didukung dengan konsep ciri-ciri sifat benda estetik oleh Monroe Beardsley, dan konsep pengungkapan nilai-nilai kehidupan dalam karya seni oleh De Witt H. Paker. Penulisan skripsi ini menggunakan metode penelitian kualitatif, dengan pendekatan estetik. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi pustaka. Hasil penelitian menunjukan bahwa tari Srimpi Pandhelori memiliki nilai estetik karena dari sudut pandang inderawi memiliki nilai bentuk dan dari isi mampu mengungkapkan nilai-nilai kehidupan.Kata kunci: Srimpi Pandhelori, koreografi, nilai estetik.AbstractResearch Value Aesthetic Srimpi Pandhelori Dance in Pura Mangkunegaran aims to describe the choreography and aesthetic value of Srimpi Pandhelori dance. Srimpi Pandhelori choreography analysis uses Sumandiyo Hadiâ€™s choreography concept. Aesthetic value analysis uses the concept of aesthetic value according to The Liang Gie, supported by the concept of aesthetic properties by Monroe Beardsley, and the concept of life values in artwork by De Witt H. Paker. Writing this thesis using qualitative research methods, with an aesthetic approach. Data collection techniques used were observation, interview, and literature study. The results showed that the Srimpi Pandhelori dance has an aesthetic value because from the viewpoint of the senses have the value of the form and the content is able to express the values of life.Keywords: Srimpi Pandhelori, choreography, aesthetic value.

MUSIC INTERACTION AND MOVEMENT IN JAVANESE DANCE: CASE STUDY ON BEKSAN BEDHAYA GANDAKUSUMA MANGKUNEGARAN STYLE Sriyadi Sriyadi
Jurnal Kajian Seni Vol 9, No 2 (2023): Jurnal Kajian Seni Vol 9 No 2 April 2023
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.81501

The music and movement patterns in Javanese dance occupy a significant position, which both of them have an integral relationship in forming the construction of a dance. It represented through the relationship between dance music and the technique of composing and executing movement patterns. This article examines the integral relationship between dance music and movement patterns to determine the importance of these two components in the formation of Javanese dance . The case study chosen to show this integral relationship is the Mangkunegaran style of Bêdhåyå Gåndåkusumå dance. The bêdhåyå dance is the result of absorption carried out by K.G.P.A.A. Mangkunegara VII (1916-1944) through a learning system at Kridha Beksa Wirama Yogyakarta. This research uses an ethnochoreological approach in the form of qualitative research. The position of dance as a multidimensional object in the ethnochoreological approach is seen through the choreographic dimension, which is expected to be able to describe the integral relationship between dance music and movement patterns in forming a Javanese dance construction. Data collection techniques were carried out through participatory observation, literature study, and interviews. Based on research results in the Bêdhåyå Gåndåkusumå dance, the technique for composing movement patterns always pay attention to the instrument colotomy of dance music. Gêndhing rhythms have contributed to realizing the aesthetic stability of the execution of a series of movements.

The Choreography of Bedhaya Gandakusuma Dance with Mangkunegaran Style: The Study of Movement Patterns Sriyadi Sriyadi
Jurnal Seni Tari Vol 12 No 1 (2023): Vol 12 No 1 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i1.65265

Movement patterns in Javanese dance works are formed from types of movement series constructed to become a unified whole. This series of movements is often called a motion motif, a motion range, or sekaran. A series of movements can be likened to a puzzle arranged in such a way as to form a unified whole. This article aims to describe the movement patterns of the Bedhaya Gandakusuma dance with Mangkunegaran style. This description is essential to know the construction of the movement pattern used. This research is a form of qualitative research with an ethnochoreological approach. Data collection techniques used are participant observation, interviews, and literature study. The results show that the construction of the Bedhaya Gandakusuma dance movement patterns consists of elements of gesture and movement that become the basic material in the arrangement of each series of movements. In the arrangement process, it is tied with a motif or a basic movement as a unifying thread. The basic movement is a series of ngenceng movements. It means that the series of ngenceng movements become the foundation in various variations of the series of movements used. The series of movements are connected by using transition movements (sendhi). The movement patterns construction of the Bedhaya Gandakusuma dance not only considers motifs, variations, and transitions but also considers repetition, climax, proportion, logical development, and unity. The purpose is to achieve wholeness to give vitality in conveying the meaning or essence being expressed.

AESTHETIC DIMENSION OF BEDHAYA ANGLIRMENDHUNG DANCE: QUALITY OF DANCER STUDY BASED ON SERAT KRIDHWAYANGGA Wibowo, Angga Febri; Pramutomo, R.M.; Sriyadi, Sriyadi
Jurnal Kajian Seni Vol 10, No 1 (2023): Jurnal Kajian Seni Vol 10 No 1 November 2023
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.86905

Dancers play a significant role in determining the success of a dance performance. The dancer's body serves as a medium of expression to convey the choreographer's ideas and concepts, which can be enjoyed and critiqued by the audience. Therefore, dancers are expected to possess the skill to implement forms and techniques of movement. In Javanese dance, there are various aesthetic concepts related to the quality of the dancer as a performer. The Serat Kridhwayangga expresses aesthetic concepts related to the qualification of character types and movement styles used. This article aims to present the aesthetic dimension of Bedhaya Anglirmendhung dance at Pura Mangkunegaran based on the perspective of the Serat Kridhwayangga. Through this, it is hoped to demonstrate the quality of the dancer as one of the aesthetic standards in presenting Bedhaya Anglirmendhung dance. As a cultural heritage, Bedhaya Anglirmendhung naturally possesses high aesthetic standards, one of which is the dimension of the dancer as a performer. This research adopts an ethnochoreological approach with qualitative research design. Data collection techniques mainly involve literature review. The research findings indicate that Bedhaya Anglirmendhung dance, based on the Serat Kridhwayangga, belongs to the wanodya character type with the patrap beksa pucang kanginan. The wanodya character type has normative rules related to the positions and forms of movements for the head, arms, torso, and legs. Therefore, in order to achieve aesthetic quality in the presentation of Bedhaya Anglirmendhung dance, dancers must possess the skills necessary to implement these positions and forms of movements.

COSTUME DESIGN AND SOCIAL STATUS VISUALIZATION IN JAVANESE DANCE AT PURA MANGKUNEGARAN Sriyadi, Sriyadi -; Pramutomo, R.M.; Sari, Yoni Wulan; Elvina, Luh
Paradigma: Jurnal Kajian Budaya
Publisher : UI Scholars Hub

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

The design of costumes holds a crucial role in visualizing the social status of characters in Javanese dance. By employing symbolic systems, costume design conveys this status to the audience. This study investigates the relationship between costume design and the depiction of social status in Javanese dance at Pura Mangkunegaran. Utilizing a qualitative methodology with an ethnocoreological approach, the research draws on a literature review as its primary data source. This review involves analyzing various documents, photographs, and videos. The findings indicate that accessories and attributes within costume design are integral to the symbolic system that represents social status. As an ethnic dance, the costume design in Mangkunegaran dance embodies the ethical and ethno-aesthetic values of the community, reflecting the life, worldview, and cultural expressions of the Javanese people. These values may evolve over time as the community’s perspectives shift.

KONSTRUKSI POLA GERAK TARI LENGGER SEKAR GADUNG DI GRUP MUGI RAHAYU KABUPATEN CILACAP Putri, Alica Erliana; Sriyadi, Sriyadi
Jurnal Sitakara Vol. 10 No. 1 (2025): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v10i1.16845

Penelitian ini bertujuan untuk mendeskripsikan konstruksi pola gerak tari Lengger Sekar Gadung. Pendeskripsian ini dinilai penting guna mengetahui konstruksi pola gerak yang digunakan. Penelitian ini merupakan bentuk penelitian kalitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara dan studi pustaka. Hasil penelitian menunjukkan konstruksi pola gerak tari Lengger Sekar Gadung pada dasarnya terdiri dari unsur sikap dan unsur gerak. Unsur sikap dan unsur gerak menjadi bahan dasar dalam penyusunan setiap rangkaian gerak. Dalam proses penyusunannya diikat dengan motif atau gerak dasar sebagai benang penyatu. Gerak dasar tersebut adalah rangkaian gerak penthangan asta. Artinya, rangkaian gerak penthangan asta menjadi pondasi dalam membuat berbagai variasi rangkaian gerak yang digunakan. Rangkaian gerak tersebut kemudian dihubungkan menggunakan gerak penghubung atau transisi. Selain memperhatikan motif, variasi, dan transisi, konstruksi pola gerak tari Lengger Sekar Gadung juga mempertimbangkan repetisi, klimaks, proporsi, pengembangan logis, serta kesatuan. Tujuan hal tersebut adalah untuk mencapai keutuhan guna memberikan vitalitas dalam menyampaikan makna atau esensi yang diungkapkan. Kata Kunci: konstruksi; pola gerak; lengger sekar gadung.

Gender Symbolism in Sampur and Samparan of Surakarta-Style Javanese Dance Costume Design Sriyadi, Sriyadi; Hartanto, Hartanto; Syahrial, Syahrial; Hapsari, Indri
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 1 (2025): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i1.64720

Sampur and samparan are essential elements in the costume design of Surakarta-style female dance, serving as primary visual markers that distinguish the aesthetic characteristics of this dance style. Their presence extends beyond mere costume design in court dances such as bedhaya and srimpi; they also function as properties that must be animated by the dancer to harmonize with the movement patterns employed. This study aims to describe the form, meaning, and characteristics of sampur and samparan in the costume design of Surakarta-style female dance and to analyze their significance in the cultural expression of Javanese society. The research employs an ethnocoreological approach with qualitative methods. Primary data were obtained through participatory observation, in which the researcher was directly involved as a Javanese dancer. The findings reveal that sampur and samparan not only enhance the expressive quality of dance movements through distinctive accentuations but also reflect the cultural values and identity of Javanese society. Specifically, samparan is exclusively used in female dances due to its association with the ideal concept of womanhood in Javanese culture. Thus, sampur and samparan function not only in the visual and technical aspects of performance but also as symbolic elements that reinforce the identity of Javanese dance as an art form rich in philosophical and cultural meanings.

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