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All Journal Humaniora Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Ringkang Jurnal Seni Tari dan Pendidikan Seni Tari JPsd ( Jurnal Pendidikan Sekolah Dasar ) Indonesian Journal of Early Childhood Education Studies MUDRA Jurnal Seni Budaya Panggung Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Gondang: Jurnal Seni dan Budaya Jurnal Administrasi Pendidikan Indonesia Paedagoria : Jurnal Kajian, Penelitian dan Pengembangan Kependidikan International Journal of Pedagogy and Teacher Education Jurnal Kewirausahaan dan Bisnis Cakrawala Dini : Jurnal Pendidikan Anak Usia Dini Gelar : Jurnal Seni Budaya International Conference on Languages and Arts Journal of Humanities and Social Studies Journal of Education, Humaniora and Social Sciences (JEHSS) Tunas Siliwangi : Jurnal Program Studi Pendidikan Guru PAUD STKIP Siliwangi Bandung Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Didaktika: Jurnal Kependidikan Jurnal Pendidikan dan Teknologi Indonesia Inovasi Kurikulum Gesture: Jurnal Seni Tari Journal of Dance and Dance Education Studies Paradigma: Jurnal Kajian Budaya Panggung
Tati Narawati
Universitas Pendidikan Indonesia
Religion Arts Humanities Economics, Econometrics & Finance Education Engineering Health Professions Languange, Linguistic, Communication & Media Library & Information Science Mathematics Public Health Social Sciences Other

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Journal : Humaniora

 1 
PERAN PENDIDIKAN TARI PUTRI KLASIK GAYA YOGYAKARTA BAGI PEREMPUAN JAWA, DULU DAN KINI Tati Narawati
Humaniora Vol 21, No 1 (2009)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2643.872 KB) | DOI: 10.22146/jh.958

Abstract

This paper is a research report concerning Rama Sas, one of the great classical master dancers and choreographers of the court of Yogyakarta. As a boy, he had to master the female dancing because of the court rule that women of the aristocrat cannot appear in public in a wayang wong dance drama production. So because of his beautiful face, slender body, and delicate appearance, Rama Sas became a court dancer specializing in female characters. Women of the aristocrat concentrated on bedhaya and srimpi female dances. Due to the court restriction, women of the aristocrat were not allowed to move and act freely like men. This is a problem of gender of course. Rama Sas knew this problem and successfully tried to choreograph dances for women.
Dari Ritual Ke Panggung Pertunjukan: Perkembangan Tari Dalam Kehidupan Masyarakat Tati Narawati
Humaniora Vol 16, No 3 (2004)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2282.991 KB) | DOI: 10.22146/jh.1313

Abstract

There are three primary functions of dance in human life, i.e., for ritual,for personal entertainment, and for aesthetic presentation. All dance experts believe that the oldest function of dance in human life is for ritual. Dance is needed on the occasion of birth, circumcision, marriage, death, war, changes of the moon and sickness. Bali is the richest island of dance in Indonesia and known as "paradise in the world of arts. The Balinese dance ritual dances for gods, for spirits of the ancestors, for religious seers, for human beings, and also for the underworld spirits. Indonesia is rich in dance for personal entertainment, such as tayuban in Central and East Java, Jaipongan in West Java, gandrung in East Java, joget in Bali, ronggeng Melayu in Sumatera, etc. The development of urban population with sufficient income has influenced the development of dance as aesthetic presentation, because the urban people, categorized as the cultural consumers, need some aesthetic entertainment for their leisure time. The best country in the world whose amazing development of her dance as aesthetic presentation is the United States of America and New York is widely known as "the mecca of performing arts"
Co-Authors abdul ajis jatnika Ace Iwan Suryawan Ace Iwan Suryawan Ace Iwan Suryawan, Ace Iwan Agus Ahmad Wakih Agus Budiman Agus Budiman Agus Dian Agus Supriatna Ali, Qifthi Amalia ramadhani Annastasya Nur Intandiani Ayo Sunaryo Ayu Ridho Saraswati Ayu Ridho Saraswati, Ayu Ridho Ayu Vinlandari Wahyudi Beben Barnas, Beben Cantika, Anindyajati Cepi Riyana, Cepi Dedi Rosala Dinda Damayanti Sudrajat Dinda Satya Upaja Budi Fallen, Aryuda Fakhleri Fifiet Dwi Tresna Santana Fifiet Dwi Tresna Santana, Fifiet Dwi Tresna Fitri Kurniati Hapidzin, Rivaldi Indra Hardina, Meisi Hayani Wulandari Hayani Wulandari, Hayani heni julia adila Intandiani, Annastasya Nur Ismet Ruchimat Ismet Ruchimat, Ismet Juju Masunah Juju Musunah Juniawan, Devita Kemala Dwina Putri Khori Nurfaida Agniawan Kokom Komalasari Lalan Erlani Mariah, Yoyoh Siti Maryani, Dian Maulana, Marsel Ridky Metha Liantina Eka Putri mira Agianti mira agniati Mubiar Agustin Muqri, Al Musunah, Juju Mutiara Difa Fauziyah Noviyanti Maulani Nugraheni, Trianti Nurfalah, Asep Rizwan Nurjatisari, Trimulyani Nurkhadijah, Annisa Nurulloh Ramdani oriza sathyfa pertama Peppy Irmaniar Rahman Puri, Tia Destiana Putri Lilis Dyani Putri Lilis Dyani Putri, Aisyah Rahma Putri, Febrianti Ersa Qifthi Ali R. M. Soedarsono R.M. Soedarsono - R.M. Soedarsono -, R.M. Soedarsono Rahayu, Sesi Febi Rakhmat, Cece Ramadhan, Alvin Pratama Ria Sabaria Riana Rosa Prastika Ridwan Simon Ridwan, Ridwan Rika Restela Rika Restela, Rika Rivaldi Indra Hapidzin Riyadi, Lanang Rizqi Maulana Rosi Rosmawati Saian Badaruddin Satya, Royys Bagja Rizky Sembiring, Piter Slamet, Deni Sofyan, Agung Muhamad Srilestari, Widia Sunaryo, Ayo Suwandi, Miranto Taram Abdul Roji Taryana, Tatang Timbul Haryono Timbul Haryono Tresnadi, Soni Tri Karyono Tri Reda Julianti Anugrah Trianti Nugraheni uus karwati Wakih, Agus Ahmad Widi Eka Yulita Widia Srilestari Yudi Sukmayadi Zaenal Alimin