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“BEAUTY OF MEN” DANCE CHOREOGRAPHY Arrofan Ryan Trisnawan; Nur Rokhim
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

The evolution of high heels from women’s to men’s and finally to jockeys’ footwear in horse racing has attracted the authors. The wearers’ poses and movements can be elevated to a level of dance. Likewise, the drag queen in the Cabaret show faces difficulties in his personal and professional life. The choreographic form of “Beauty of Men” entails the creation of this dance. The dance work of “Beauty of Men” is presented in ensembles. This dance work is composed and presented by developing dance movements. The dance work consists of four sections, beginning with introducing the self’s inner conflict. The first section designates the issues that confront families and communities. The second section describes the difficulties associated with social friendship. The third section illustrates the self’s difficulties and the quest for self-identity. Lastly, the fourth section expresses how the problems encountered were resolved. The process of creating the dance work of “Beauty of Men” reflects the dancer’s creative ability as a result of his experience.

MAKNA â€œTUJUHâ€ DALAM TARI BEDHAYA DIRADHA META Nur Rokhim
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

TheBedhaya Dirada Metadance is performed by seven male dancersand is a symbol ofrespect to soldiers who have died in battle. The number seven in the Bedhaya Dirada Meta danceis closely related to the philosophy of Mankunegara Iâ€™s struggle. The basis of Mankunegara Iâ€™sstruggle in essence cannot be separated from the concept of leadership of the knights of Mataramwhich promotes three aspects, namely religion, morality, and culture. Of these three aspects, itsseems that the main philosophy used as a basis for Mankunegara Iâ€™s struggle is the concept ofreligious Islamic teachings in order to reach a level of perfection and to draw closer to God theCreator.Keywords: meaning, seven, bedhaya dirada meta.

INOVASI KESENIAN RAKYAT KUDA LUMPING DI DESA GANDU, KECAMATAN TEMBARAK, KABUPATEN TEMANGGUNG Nur Rokhim
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Demam kesenian rakyat kolaborasi Leakan di Temanggung rupanya sudah tidak dapat dibendung lagi. Para seniman senior rata-rata menolak kehadiran kolaborasi tersebut, mereka merasa risih dengan pengembangan seni pertunjukan yang demikian. Akhirnya Dinas melarang pertunjukan kolaborasi Kuda Lumping dengan tari Leak, Pendet dan Barong Bali. Hal ini dimaksudkan untuk mengembalikan eksistensi pertunjukan Kuda Lumping seperti semula sebagai seni yang mempunyai ciri khas Temanggung. Kesenian Kuda Lumping Sri Budoyo berada pada situasi yang rumit, di tengah-tengah tuntutan selera masyarakat yang semakin beraneka ragam. Tekad masyarakat pendukung kesenian sudah bulat untuk menjaga dan melestarikan kesenian Kuda Lumping supaya tetap eksis dengan ciri khasnya. Berbagai permasalahan mitra sebagi akibat masuknya kesenian luar daerah yang mengusik eksistensi kesenian lokal sebagai ciri khas daerah, maka akan ditawarkan solusi untuk mengatasi permasalahan yang dihadapi. Inovasi adalah sebuah cara yang akan dilakukan sebagai solusinya. Inovasi yang dilakukan adalah pemberdayaan anak-anak sebagai generasi penerus kesenian Kuda Lumping di desa Gandu II, yang nantikan akan memegang kendali kesenian di desa tersebut. Anak-anak diberi pelatihan tari Geculan sebagai dasar kepenarian mereka, gerak-gerak yang disusun disesuaikan dengan usianya.Kata kunci: Inovasi, Kesenian rakyat, Kuda Lumping.Abstract The folk art fever of the Leakan collaboration in Temanggung apparently cannot be stopped anymore. The average senior artists reject the presence of the collaboration, they feel uncomfortable with the development of such performing arts. Finally the Office banned the performance of the Kuda Lumping collaboration with the Leak, Pendet and Barong Bali dances. This is intended to restore the existence of the Kuda Lumping performance as originally as an art that has a characteristic Temanggung. Sri Budoyoâ€™s Kuda Lumping Art is in a complicated situation, amidst the increasingly diverse demands of the peopleâ€™s tastes. The determination of the people supporting the arts has been unanimous to maintain and preserve the Kuda Lumping art in order to continue to exist with its trademark. Various partner problems as a result of the entry of arts outside the region that disturb the existence of local arts as a regional characteristic, will be offered a solution to overcome the problems faced. Innovation is a method that will be carried out as a solution. The innovation carried out was the empowerment of children as the next generation of Kuda Lumping art in the village of Gandu II, who were looking forward to taking control of the arts in the village. The children were given Geculan dance training as a basis for their dance, the movements arranged according to their age. Keywords: Innovation, Folk art, Kuda Lumping.

UPACARA RITUAL BELIENT SENTIU DAYAK BENUAQ DI KAMPUNG PONAK KECAMATAN SILUQ NGURAI KABUPATEN KUTAI BARAT, KALIMANTAN TIMUR Nessy Nessy; Nur Rokhim
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

This paper describes the Ritual Belient Dayak Benuaq Ritual Ceremony in Kampung Ponak, Siluq Ngurai District, West Kutai Regency. This writing originated from the writer’s attention to the arts in East Kalimantan, especially in the village of Ponak, especially in the Benuaq Dayak tribe which still holds close to customs amidst the advancing era and rapidly developing medical science. BelientSentiu ritual ceremony in Ponak village is held when there are people who experience pain outside the medical. Rituals are carried out at night before midnight, according to the community if the ritual is carried out before midnight, the presence of ancestral spirits is more easily felt, and allows ritual performers to be able to communicate well with the spirits of the ruler of the upper world and the ruling spirit of the underworld. has a function that can meet the needs of the Benuaq Dayak community. In this ritual there is the Belient Sentiu dance which is a description of ceremonial activities related to the prevailing customary norms and belief in ancestral spirits. Tonyoi Dayak tribe and Benuaq Dayak tribe.ȱ Keywords:ȱǰȱȱ¢ȱǰȱȱǯ

INOVASI BENTUK PERTUNJUKAN KESENIAN RAKYAT KUDA LUMPING DI DESA GANDU II, KECAMATAN TEMBARAK, KABUPATEN TEMANGGUNG Nur Rokhim
Abdi Seni Vol 9, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Fever of collaboration with Leakan folk art in Temanggung apparently cannot be stopped anymore. Senior artists on average rejected the presence of the collaboration, they felt uncomfort-able with the development of such performance art. Finally, the Office banned the collaboration of Kuda Lumping with Leak, Pendet and Barong Balinese dances. This is intended to restore the existence of the Horse Lumping show as before as an art that has the characteristics of Temanggu-ng. Sri Budoyo’s Lumping Horse Art is in a complicated situation, amidst the increasingly diverse demands of people’s tastes. The determination of the public to support art has been unanimous to preserve and preserve Kuda Lumping art so that it still exists with its trademark. Various problems of partners as a result of the inclusion of art outside the region that disturbs the existence of local art as a regional characteristic, then solutions will be offered to overcome the problems encoun-tered. Innovation is a way to be done as a solution. The innovation made is the empowerment of children as the next generation of Kuda Lumping arts in the village of Gandu II, who look forward to taking control of the arts in the village. The children were given Geculan dance training as a basis for their dance, movements arranged according to their age.Keywords: Innovation, Folk Art, Kuda Lumping.

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