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FUNGSI KIDUNG DALAM BOJANA EKARISTI Renaldi Lestianto Utomo Putro
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 10, No 1 (2015)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Persoalan yang diangkat dalam tulisan ini adalah, bagaimana nyanyian difungsikan oleh rama dan kawulaÂ dalam Bojana Ekaristi? Untuk menjawab, digunakan metode analisis strukturalisme LÃ¨vi-Strauss. AnalisisÂ dilakukan dengan menetapkan rama dan kawula sebagai pasangan oposisi yang melantunkan kidung.Â Kemudian kidung dicari relasi fungsinya terhadap Bojana Ekaristi. Tulisan dihasilkan melalui kerja kualitatif,Â yaitu pengamatan, perekaman, studi pustaka, dan wawancara. Hasil yang diperoleh adalah kidungÂ difungsikan oleh rama dan kawula untuk menyertai berbagai aktivitas dalam Bojana Ekaristi. Kegiatan ituÂ memberi makna terhadap berbagai fenomena yang disertai.Kata kunci: fungsi kidung, Bojana Ekaristi.

Penguatan Festival Enam Suku Barikan Kubro melalui Penghadiran Karya Tari Baru Renjana Karimunjawa Renaldi Lestianto Utomo Putro; Maharani Luthvinda Dewi; Eko Supendi; Jonet Sri Kuncoro
Abdi Seni Vol. 14 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i1.5001

Community service activities in Karimunjawa Village aim to strengthen the Barikan Kubro Six Tribe Festival. The goal is motivated by the community's willingness to welcome the post-pandemic period by reactivating festival activities that had stopped. Festival activation has unresolved homework from the last event hosting: no new art creations image the culture of the people of Karimunjawa. New art creations, especially dance in Karimunjawa, are not growing due to a lack of experts and knowledge about dance creation. Therefore, the problem that must be solved is how to create new dance works that can be used to strengthen the festival's implementation. The solution is to create dance works with the local community's cultural background, train the results of the works composition to the public, and promote the composed works through performances. The approach is based on Skinner's concept of habituating behavior modification as a form of cultural reinforcement. Implementation of the creation includes; 1) the preparation stage and 2) the implementation stage. The result achieved from this program is the creation of the dance "Renjana Karimunjawa."

ALTERNATIF METODOLOGI PENCIPTAAN TARI NINI TOWOK KARYA SLAMET MD Mangundiharjo, Slamet; Supriyanto, Supriyanto; Karyono, Karyono; Utomo Putro, Renaldi Lestianto; Lokanantasari, Ryndu Puspita
JURNAL PAKARENA Vol 10, No 1 (2025): Juli
Publisher : Universitas Negeri Makassar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26858/p.v10i1.72484

Penelitian ini penting karena selama ini metode penelitian tari yang ada yaitu penelitian tari tekstual tidak lagi mampu mengakomodasi pemikiran tentang penelitian artistik yang dipimpin oleh praktik penelitian. Tujuan untuk menemukan model penelitian tari berbasis praktik tari sebagai pembangkitan ide melalui praktik penelitian adalah untuk membentuk metode baru dalam penelitian berbasis tari. Praktik sebagai pendekatan penelitian terhadap tari teks yang memenuhi metode berdasarkan prinsip-prinsip penelitian tari yang berkembang dalam tari. Artikel penelitian ini berdasarkan penelitian kualitatif. Jenis data dan sumber data serta informasi semuanya diperoleh dari penelitian yang dipimpin praktik, elemen penelitian metode tari, pembangkitan ide adalah pemilihan ide, subjek menyelidiki dan mengekstrapolasi ide. Dan mengembangkan ide menjadi karya seni. Pengumpulan data dilakukan dengan menggunakan teknik studi pustaka dan studi dokumen. Semua data telah Hasil. Penelitian ini menemukan metode penelitian tari yang meliputi observasi terhadap fenomena pembangkitan ide dan ide baru, eksplorasi, eksperimen ide, dan pembentukan artistik. Fenomena penelitian yang meliputi: pembangkitan ide, praktik kreatif, pemilihan ide (subjektif atau sistematis), investigasi dan ekstrapolasi dari ide, pengembangan ide terpilih, out put dokumentasi karya seni dan produknya atau dalam bentuk karya seni. Kebaruan metode penelitian terbimbing adalah melengkapi aspek penelitian artistik yang sudah ada dan menjadi dasar perangkat seni kreatif dalam memecahkan fenomena metode tari dalam tari secara mendalam dan terbuka. Untuk itu, diharapkan penelitian ini akan memicu peneliti tari masa depan untuk membahasnya lebih tajam dan mendalam.

A Study on the Existence of the Lajher Pandhalungan Dance in Situbondo Regency East Java Dwi Imanda , Fatvil; Wisnu Pamenang, Nandhang; Lestianto Utomo Putro, Renaldi
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/zrpndk19

This study analyzes Lajher Pandhalungan Dance, or popularly called Landhung Dance, as a cultural icon of Situbondo Regency in the Horseshoe region, north coast of Java. This dance was developed by the late Regent H. Dadang Wigiarto, SH, and developed by the Situbondo Arts Council. Choreographically, Lajher Pandhalungan Dance is divided into three levels (Landhung Cengker, Landhung Anom, and Landhung) with a complex movement structure, including 5 types of head movements, 16 hand movements, 4 body movements, and 2 foot movements. This flexibility allows the dances to be performed solo or in groups by dancers of various age groups. The dance theme fundamentally represents the socio-economic identity of the Situbondo community, especially the professions of fishermen and farmers, as well as the Pandhalungan cultural identity which is an acculturation between Javanese and Madurese ethnicities. The existence of Lajher Pandhalungan Dance is supported by two main factors: internal and external. Internal factors include the artistic creativity of the dance group and its inherent choreographic elements. Meanwhile, external factors include audience enthusiasm and promotional strategies through social media. The dance is consistently performed, including as the opening dance at the Situbondo Ethnic Festival 2023, and has been integrated into the compulsory extracurricular curriculum for elementary to junior high school students, demonstrating systematic efforts in cultural preservation and regeneration.

Function of Topeng Tunggal Dance in Betawi Society Sabillah, Kholifah; Dewi, Maharani Luthvinda; Putro, Renaldi Lestianto Utomo
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 16 No. 1 (2025): Oktober
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/terob.v16i1.97

The Topeng Tunggal Dance is a traditional Betawi art form created by Mak Kinang and Kong Djiun in 1930. The inception of the Topeng Tunggal Dance was inspired by a vision experienced by Mak Kinang, which was subsequently brought to life through dance and musical accompaniment by Kong Djiun. This research aims to explore and understand the values and functions inherent in the Topeng Tunggal Dance. The methodology employed in this study is qualitative, utilizing an analytical descriptive approach and the functional theory of RM. Soedarsono. Data collection techniques include observations, interviews with artists, and documentation. The findings indicate that the Topeng Tunggal Dance embodies two primary values: moral and aesthetic. Additionally, this dance serves three functions: as entertainment, as a performing art, and as a medium for education. These values and functions position the Topeng Tunggal Dance not only as a cultural heritage but also as a means for character development and the preservation of the cultural identity of the Betawi people.

Aesthetic Transformation of Javanese Wayang Performances in the Digital Era Sunardi, Sunardi; Saka, Putri Ananda; Sulastuti, Katarina Indah; Mulyana, Aton Rustandi; Ansari, Isa; Novianto, Wahyu; Kiswanto, Kiswanto; Putro , Renaldi Lestianto Utomo
Harmonia: Journal of Arts Research and Education Vol. 25 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v25i1.11320

This study examines how technological advancements have transformed the aesthetics of wayang performances in Java. Data collection methods include observations of wayang performances, interviews, literature reviews, and internet searches to capture the aesthetic transformation of wayang performances in the digital age. Given the existing literature’s tendency to discuss wayang performances within a limited scope, this research provides a more comprehensive contribution by positioning wayang performances as an integrated entity encompassing dalang creativity and audience response. Through the analysis of diverse wayang performances, the study demonstrates that aesthetic transformation is evidenced by the dalang’s hybrid presentation techniques, the emergence of novel story repertoires, and increased audience engagement. Significant findings from this study include the growth of dalang’s creative and adaptive capabilities, enhanced interpretative approaches in composing wayang stories, and the audience’s influence in shaping mass aesthetic trends. This study provides important contributions to the pedalangan (puppetry) and the relations of wayang, dalang, audience, and technology. Furthermore, this study contributes to the academic discourse on cultural adaptation in the digital age and provides pragmatic resources for the artistic development of Javanese puppetry.

Penguatan Festival Enam Suku Barikan Kubro melalui Penghadiran Karya Tari Baru Renjana Karimunjawa Putro, Renaldi Lestianto Utomo; Dewi, Maharani Luthvinda; Supendi, Eko; Kuncoro, Jonet Sri
Abdi Seni Vol. 14 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i1.5001

Community service activities in Karimunjawa Village aim to strengthen the Barikan Kubro Six Tribe Festival. The goal is motivated by the community's willingness to welcome the post-pandemic period by reactivating festival activities that had stopped. Festival activation has unresolved homework from the last event hosting: no new art creations image the culture of the people of Karimunjawa. New art creations, especially dance in Karimunjawa, are not growing due to a lack of experts and knowledge about dance creation. Therefore, the problem that must be solved is how to create new dance works that can be used to strengthen the festival's implementation. The solution is to create dance works with the local community's cultural background, train the results of the works composition to the public, and promote the composed works through performances. The approach is based on Skinner's concept of habituating behavior modification as a form of cultural reinforcement. Implementation of the creation includes; 1) the preparation stage and 2) the implementation stage. The result achieved from this program is the creation of the dance "Renjana Karimunjawa."

Ondel-ondel Sebagai Inspirasi Utama Penciptaan Karya Tari Ondel Lodeh Agustina, Hasna; MD, Slamet; Putro, Renaldi Lestianto Utomo
Dance and Theatre Review Vol 8, No 2: November 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i2.15892

Penelitian ini bertujuan untuk memaparkan gagasan inspirasi hingga bentuk sajian dengan latar belakang kreativitas yang dilakukan oleh koreografer yang dipentaskan oleh Sanggar Seni Budaya Khatulistiwa dalam kegiatan Hari Tari Dunia 24 Jam Menari ISI Surakarta. Penelitian ini menggunakan metode kualitatif. Adapun tahap penelitian nya dengan pengumpulan data melalui wawancara, studi literatur, dan sumber data tertulis serta foto. Karya tari Ondel Lodeh merupakan garapan baru yang berpijak pada gerak kontemporer tradisi dan disajikan secara berkelompok. Tari Ondel Lodeh diciptakan oleh Anis Sania Kartika. Karya tari Ondel Lodeh berangkat dari perjalanan barongan menjadi ondel-ondel, serta pergeseran fungsi pada ondel-ondel dari generasi ke generasi. Ondel-ondel, yang dahulu dikenal dengan nama Barongan dan berperan sebagai ritual tolak bala, telah mengalami pergeseran fungsi seiring perkembangan zaman. Pergerseran fungsi ini berlangsung secara turun temurun antar generasi. Hasil penelitian ini mengungkap bahwa bentuk penyajian tari Ondel Lodeh yang terdiri atas unsur gerak tari, tata rias dan busana serta musik yang mendukung suasana pertunjukkan yang terinspirasi dari Ondel-ondel mampu menciptakan karya tari Ondel Lodeh melalui proses kreativitas oleh koreografer.Kata kunci: Tari Ondel Lodeh, Ondel-ondel, Inspirasi, Hari Tari Dunia.

Synesthesia of IbuIbu Belu: Bodies of Border as Contemporary Dance in Choreomusicology Perspective Maharani Luthvinda Dewi; R. Danang Cahyo Wijayanto; Renaldi Lestianto Utomo Putro
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 10, No 2 (2026): April 2026
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v10i2.25920

Penelitian ini difokuskan pada analisis bentuk sinestetik sebagai hasil perseptual dalam karya tari kontemporer Ibulbu Belu: Bodies of Border (IBUBOB) yang dipentaskan di Teater Besar ISI Surakarta tahun 2022. Urgensi studi ini didasarkan pada fakta bahwa kajian sebelumnya cenderung menganalisis dimensi tari, musik, dan ruang secara terpisah, serta belum memposisikan gejala sinestetik sebagai fokus kajian utama. Penelitian ini mengajukan argumen bahwa bentuk sinestetik adalah sebuah konstruksi perseptual yang dikonstruksi secara kausal oleh strategi koreomusikal dan teknologi pemanggungan. Metode kualitatif deskriptif dengan pendekatan analisis konten dua-tahap (formalis dan resepsi) diterapkan, menggunakan data rekaman audio-visual, observasi, wawancara, dan studi pustaka berupa narasi audiens. Penelitian menemukan hasil dua penyebab utama. Pertama, strategi koreomusikal yang mengintegrasikan body percussion dan instrumen Tihar dalam pola ritmis paralel dan unison. Kedua, desain pemanggungan yang memanfaatkan lantai kayu parkit berlapis vynil sebagai instrumen perkusif pasif dan sonifikasi melalui mic condensor yang mengubah bunyi kinetik subtil (hentakan kaki) menjadi lanskap suara imersif. Temuan membuktikan bahwa kedua elemen teknis ini secara sistematis mengarahkan persepsi audiens, yang termanifestasi dalam narasi sinestetik seperti detak jantung kolektif. Disimpulkan bahwa bentuk sinestetik adalah akibat perseptual yang dapat dirancang secara sadar oleh seniman melalui keputusan teknis yang terintegrasi. Kata kunci: Bentuk, Sinestetik, Tari Kontemporer, IBUBOB, Sonifikasi.

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