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All Journal Jurnal Sejarah Citra Lekha Gondang: Jurnal Seni dan Budaya Jurnal Sitakara Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Greget Jurnal Seni Tari Tamumatra : Jurnal Seni Pertunjukan Randwick International of Social Science Journal International Journal of Educational Research and Social Sciences (IJERSC) Jurnal Kajian Seni Paradigma: Jurnal Kajian Budaya Paramita: Historical Studies Journal
S Sriyadi
Institut Seni Indonesia Surakarta
Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Social Sciences Other

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Transformation Bedhaya Dance in Java Society: Rituals, Ceremonials, Entertainment R.M. Pramutomo; Sriyadi Sriyadi
Paramita: Historical Studies Journal Vol. 35 No. 1 (2025): History of Education
Publisher : istory Department, Faculty of Social Sciences, Universitas Negeri Semarang in collaboration with Masyarakat Sejarawan Indonesia (Indonesian Historical Society)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/paramita.v35i1.4820

Abstract

Abstract: Bedhaya is a dance genre that lives and develops in Javanese society. This dance is a legacy of the times of the Hindu Buddha. In the course of the bedhaya dance era, it changed. This article aims to reveal the changes in the dance function of bedhaya and to examine its existence in Javanese society. The research used is qualitative with a historical approach. The data collection technique used is the archival studies method. The result showed bedhaya dance derived from the dance offerings performed by devadaҫi. In the times of Mataram Islam, it was used to legitimize the king’s position. The Bedhaya dance had a significant role in maintaining the king's authority when the palace lost political, economic, and juridical power during colonialism. During its development, the palace was only for cultural preservation. It can be presented outside the palace walls as an art of tourism. In the modern era, Bedhaya dance is one of the references in creating contemporary dance. The change in the function of the Bedhaya dance is accompanied by changes in how it is presented, the accompanying narrative, and the essence conveyed. This shows that changes in the views and ideas of Javanese society influence its artistic creations. Abstrak:  Tari bedhaya adalah salah satu genre tari yang hidup dan berkembang di masyarakat Jawa. Tari ini merupakan sebuah warisan dari zaman Hindu-Budha sampai sekarang. Dalam perjalanannya dari masa-kemasa tari bedhaya mengalami perubahan. Penulisan artikel ini ingin mengungkapkan perubahan fungsi tari bedhaya, guna mengatahui eksistensinya dalam masyarakat Jawa. Bentuk penelitian yang digunakan adalah kualitatif dengan pendekatan sejarah. Teknik pengumpulan data menggunakan metode studi arsip. Hasil penelitian menunjukkan, tari bedhaya bersumber dari tari persembahan yang dilakukan oleh para devadaҫi. Pada zaman Mataram Islam tari bedhaya digunakan sebagai sarana legitimasi kedudukan raja. Tari bedhaya memiliki peranan signifikan dalam menjaga kewibawaan raja ketika kraton kehilangan kekuasaan politik, ekonomi, dan yuridis pada masa kolonialisme. Dalam perkembangannya, kraton hanya menjadi wadah pelestarian budaya. Tari bedhaya dapat disajikan di luar lingkungan kraton yang berfungsi sebagai seni pariwisata. Di era modern, tari bedhaya menjadi salah satu referensi dalam penciptaan karya tari kontemporer. Perubahan fungsi tari bedhaya disertai perubahan cara penyajian, narasi yang menyertai, serta esensi yang disampaikan. Hal ini menunjukkan bahwa perubahan pandangan dan gagasan masyarakat Jawa berpengaruh pada kreasi seninya.  
THE DIALECTICS OF PRESERVATION AND RENEWAL IN TRADITIONAL DANCE: <i>BEDHAYA SAPTONGKARA</i> AS A DEVELOPMENT OF THE BEDHAYA GENRE Syahrial, Syahrial; Sriyadi, S.; Wibowo, Angga Febri
Paradigma: Jurnal Kajian Budaya Vol. 16, No. 1
Publisher : UI Scholars Hub

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Abstract

Bedhaya is a traditional Javanese court dance that embodies ethical, aesthetic, and sacred values. Following Indonesia’s independence, restrictions on its performance gradually eased, allowing the dance to be presented beyond the court and fostering its development within arts education. This shift generated a dialectic between cultural preservation and creative innovation, exemplified by Bedhaya Saptongkara, which integrates Balinese dance elements into the Javanese framework to produce an innovative form. Using a choreological approach and comparative method, this study reveals that although Bedhaya Saptongkara retains core principles of bedhaya, it does not fully adhere to the classical structure. Instead, it occupies the category of bedhayan, a derivative genre that reinterprets bedhaya principles within a new creative context. These findings affirm that tradition and innovation are not mutually exclusive; renewal can broaden cultural relevance while maintaining aesthetic roots
KARAKTERISTIK TARI BEDHAYAN CHENG HO KARYA SANGGHITA ANJALI: STUDI TENTANG INOVASI BERSUMBER TARI TRADISI Febika Fahrinisa; Sriyadi
TAMUMATRA Vol 8 No 1 (2025): Tamumatra
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i1.29882

Abstract

Bedhayan Cheng Ho Dance, a work by Sangghita Anjali from Semarang, portrays the story of Admiral Cheng Ho, a Chinese explorer who played a significant role in the historical cultural interactions between China and the Nusantara, particularly in Semarang. The harmony between Javanese and Chinese cultures is reflected in its presentation, making it a representation of cultural acculturation in the region. This article aims to describe the characteristics of Bedhayan Cheng Ho Dance as an innovation rooted in traditional dance, particularly the Bedhaya court dance. This study employs a qualitative research method with a choreological approach. The findings indicate that innovations in this dance create a cultural expression that embodies the synthesis of Javanese and Chinese elements, serving as the choreographer’s response to the local cultural context. Beyond its artistic exploration, Bedhayan Cheng Ho Dance also represents the dynamics of cultural acculturation in Semarang. The fusion of Javanese and Chinese cultural elements serves as the defining characteristic of this dance, emerging from the choreographer’s innovation in adapting and developing the Bedhaya tradition. Structurally, the dance integrates movements from wushu martial arts with the foundational movements of Javanese dance, particularly the Surakarta style. Its composition emphasizes arm movements, legwork, and dynamic torso gestures, embodying the aesthetic synthesis of both cultures.
Gambiranom Dance as a Culturally Constructed Aesthetic Behavior of Falling in Love in Javanese Tradition Paimin Paimin; Sriyadi Sriyadi; Nur Rokhim; Dwiyasmono Dwiyasmono; Sumargono Sumargono
Randwick International of Social Science Journal Vol. 7 No. 3 (2026): RISS Journal, July
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rissj.v7i3.1305

Abstract

Love-themed dance repertoires occupy a significant position in the Surakarta dance tradition as cultural representations of emotional experience and Javanese values. Among these repertoires, Gambiranom represents the theme of gandrungan through a male solo dance that articulates the protagonist’s psychological experiences of longing, affection, and determination in the pursuit of love. Although previous studies have examined its choreographic structure and performance form, limited attention has been given to its movement vocabulary as culturally constructed aesthetic behavior. This study investigates how aesthetic behavior in Gambiranom is shaped by the emotional experiences and everyday practices of Javanese society and embodied through its performance style. Employing a qualitative research design with an ethnochoreological approach, data were collected through participant observation supported by a literature study and analyzed through data reduction, categorization, interpretation, and conclusion drawing. The findings demonstrate that the movement vocabulary of Gambiranom is not arbitrarily composed but derives from the stylization of everyday behaviors associated with the experience of falling in love, including longing, affection, self-grooming, emotional intimacy, and the determination to unite with one’s beloved. These behaviors are transformed into aesthetic behavior through the choreographic conventions of Javanese dance and embodied in the kiprahan performance model with a putra alus lanyap performance style. The study concludes that aesthetic behavior in Gambiranom functions not only as a choreographic convention but also as a cultural identity through which Javanese society constructs and communicates the experience of romantic love within the tradition of ethnic dance.
Utilizing Youtube as A Digital Data Repository For The Development of Ethnochoreological Research Methods Through Archival Study and Netnography Syahrial; Sriyadi; Galuh Widyaningtyas; Hartika
International Journal of Educational Research & Social Sciences Vol. 7 No. 3 (2026): June 2026 ( Indonesia -Kazakhstan- China - Uzbekistan )
Publisher : CV. Inara in Colaboration with www.stie-sampit.ac.id

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51601/ijersc.v7i3.1038

Abstract

YouTube, as a digital media platform, offers significant potential as a source of non-field research data in ethnocoreology. Through access to audiovisual documentation, researchers can examine movement patterns, musical elements, costumes, and the performance contexts of dances across diverse ethnic traditions without geographical constraints. This study aims to explore the role of YouTube as a medium for ethnocoreological research through the integration of two methodological strategies: archival research and netnography. Within the archival research framework, YouTube is positioned as a cultural repository that preserves historical traces, aesthetic transformations, and evolving modes of dance presentation over time. In contrast, the netnographic approach views YouTube as a space of cultural interaction in which identity negotiation, meaning-making processes, and representational practices are enacted through the digital activities of virtual communities. This study employs a qualitative methodology, with ethnocoreology serving as the primary epistemological framework, thereby ensuring that dance analysis remains grounded in the relationship between textual and contextual dimensions. Data were collected from various YouTube features, including description boxes, comment sections, playlists, and community channels, and were supplemented by relevant scholarly literature. The findings indicate that YouTube functions not only as a medium for dance documentation but also as an epistemic arena that expands the research paradigm of ethnocoreology within the digital ecosystem. These findings underscore the importance of rigorous source criticism and stringent data selection procedures to ensure the scientific validity and reliability of research conducted through digital platforms.
Co-Authors Dwiyasmono Dwiyasmono Elvina, Luh Fahrinisa, Febika Febika Fahrinisa Galuh Widyaningtyas hartanto hartanto Hartika Indri Hapsari Nur Rokhim Paimin Paimin Pramutomo R.M. Putri, Alica Erliana R.M. Pramutomo R.M. Pramutomo R.M. Pramutomo Sari, Yoni Wulan Sumargono Sumargono Syahrial SYAHRIAL SYAHRIAL Wahyu Santoso Prabowo Wibowo, Angga Febri