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All Journal Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Gelar : Jurnal Seni Budaya Proceeding of International Conference on Art, Media, and Culture (ICAMAC)
Sri Rochana Widyastutieningrum
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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 1 
PERAN KOREOGRAFER PEREMPUAN DALAM PERKEMBANGAN TARI Sri Rochana Widyastutieningrum
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 8, No 1 (2012)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1077.478 KB) | DOI: 10.33153/dewaruci.v8i1.1089

Abstract

This article is the result of anobservation of the role of female chorographers in the development of dance inIndonesia. The roleof female choreographers in the development of dance can be divided into four aspects, namely choreographers as creators ofdance, choreographers as dancers, choreographers as preservers of traditional dance, and choreographers as supporters of thedevelopment of dance. In carrying out the role of a choreographer as a creator of dance, a high level of creativity is required, andthis is influenced by the choreographer’s cultural background, environment, talent, education, and love of dance. The role offemale choreographers in creating dance is evident in the fact that they have created various newforms of dance, in terms oftheir numerous ideas, forms, types, and styles, so that dance performances have becomemore attractive andmore animated.Thepresence of these newdances has also enhanced the aesthetical values of existing dances, enriched the spiritual experience ofthe dancers and the audience, and added to thewealth of variety in theworld of dance. Female choreographers have the scopeand freedomto express real-lifewomen’s issues related to the complex problems of life, based on awoman’s point of view. Incarrying out this role, a choreographer also functions as a dancer, a preserver of traditional dance, and a supporter of thedevelopment of dance.Keywords: role, female choreographer, dance creation, tradition.
INTERPRETASI KARAKTER KUNTHI OLEH TIGA PENARI PADA PERTUNJUKAN WAYANG ORANG SRIWEDARI Retno Purwanti; Sri Rochana Widyastutieningrum
Gelar : Jurnal Seni Budaya Vol 13, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (256.107 KB) | DOI: 10.33153/glr.v13i1.1543

Abstract

This study focuses on the characterization of figure Kunthi in the performance of traditional stage showWayang Orang Sriwedari. The research is based on the assumption that the character of Kunthi representsthe profile of a wise woman who deserves to be emulated by women today. The study describes the interpretationof the character of Kunthi by three dancers in Wayang Orang performances at Sriwedari. The implementationof the role by one performer and another shows a difference. The difference in the implementation of thesethree dancers formulates the problems to be addressed in the study including how the interpretation ofWayang Orang dancers at Sriwedari expresses the character of Kunthi in the story Kunthi Purwa. Theimplementation of the character of Kunthi by Darsi Pudyorini, Nanik Setyorini, and Sri Lestari (WayangOrang performers at Sriwedari) shows differences in the way they express the character of Kunthi.Keywords: character, Kunthi, Wayang Orang Sriwedari
Transformation of wayang kulit  performance from phsycal space to digital space Sri Rochana Widyastutieningrum
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

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Abstract

Wayang Kulit (shadow puppet) performances have undergone a transformation from traditional performances straight into a digital show. Shadow puppet masterminds perform hybrid shadow puppet shows, by performing them live in front of the public, and also showing them online via YouTube, Instagram, and Tik Tok channels. The research reveals changes or transformations in wayang kulit performances. The research uses qualitative methods, with a phenomenological approach, using descriptive analysis techniques. The research uses data collection techniques through observation, literature study, and interviews. The results of the research show that shadow puppet performances have experienced changes in their form and performance space. More people watch shadow puppet shows on YouTube than people who see live performances. Shadow puppet shows prioritize entertainment, jokes, and humor as well as the presence of guest stars, rather than stories and messages, and noble values. Shadow puppet performances have experienced encouraging developments from the audience aspect, especially virtual performances. However, there has been a change or distortion of the values attached to the wayang kulit performances.
Co-Authors Yundari, Yundari