Article Per Year (5 Year)
p-Index From 2020 - 2025
1.978
P-Index
This Author published in this journals
All Journal Imaji: Jurnal Seni dan Pendidikan Seni JOGED Harmonia: Journal of Research and Education Acintya Jurnal Adat dan Budaya Indonesia Varia Humanika Kawruh : Journal of Language Education, Literature and Local Culture
Sestri Indah Pebrianti
Program Studi Kajian Seni Petunjukan Pascasarjana, Universitas Gajah Mada, Jogjakarta, Indonesia
Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

Published : 14 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search
Journal : Harmonia: Journal of Research and Education

 1 
MAKNA SIMBOLIK TARI BEDHAYA TUNGGAL JIWA Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): (DOI & DOAJ Indexed, December 2013)
Publisher : Department of Drama, Dance, and Musik (Sendratasik), Semarang State University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2778

Abstract

Bedhaya Tunggal Jiwa merupakan  elemen penting dalam upacara Grebeg Besar. Pada penelitian ini fenomena yang menarik untuk dikaji (1) Mengapa tari Bedhaya Tunggal Jiwa dipertunjukkan, (2) Bagaimana bentuk pertunjukan, dan (3) Apa makna simbolik yang terkandung pada tari Bedhaya Tunggal Jiwa. Di dalam memahami fenomena yang terjadi pada Bedhaya Tunggal Jiwa, penelitian ini menggunakan metode kualitatif untuk menggali berbagai data lapangan dalam menjelaskan mengenai persoalan yang terjadi. Perolehan data lapangan itu kemudian diolah dan dituliskan dengan metode deskriptif analisis dengan pendekatan etnokoreologi. Bedhaya Tunggal Jiwa merupakan salah satu unsur budaya masyarakat Demak, yang dipertunjukkan sebagai bagian dari rangkaian upacara tradisi Grebeg Besar di Kabupaten Demak. Kehadirannya sebagai kebutuhan estetis manusia serta menimbulkan keserasian manusia dan lingkungannya. Unsur yang ditampilkan pada pertunjukan Bedhaya Tunggal Jiwa terdiri dari beberapa eleman di antaranya: penari, gerak, pola lantai, musik, rias, busana, properti dan tempat pementasan.  Hasil penelitian menunjukkan bahwa makna simbolik Bedhaya Tunggal Jiwa sebagai gambaran menyatunya pejabat dengan rakyat dalam satu tempat untuk menyaksikan tari Bedhaya Tunggal Jiwa sehingga tampak sebuah kekompakkan, kedisiplinan dan kebersamaan langkah untuk menggapai cita- cita. Unsur-unsur simbolik ditunjukan pada peralatan yang digunakan dalam rangkaian upacara, tindakan yang dilakukan penari, arah dan angka,  integritas dan sosial kemasyarakatan. Makna simbolik terdapat pada gerak, pola lantai, kostum, iringan tari, dan properti yang sesuai dengan kondisi sosial budaya Kabupaten Demak. Keseluruhan menggambarkan kegiatan hubungan vertikal dan horisontal umat manusia. The Bedhaya is the important element in Grebeg Besar ceremony. In this research, the phenomenon that will be interesting to be studied are (1) Why Bedhaya Tunggal Jiwa dance is showed?, (2) How the pattern of the show is?, and (3) What the symbolic meaning of Bedhaya Tunggal Jiwa dance is?. In understanding the phenomenon happened in Bedhaya Tunggal Jiwa, this research applies the qualitative method to discover all the field data in explaining the problems occur. The result of field data, processed and written in descriptive analysis method etnokoreologi approach. That approach is done by textual and contextual analysis. The textual study, can lineout or describe in detail about the structure in Bedhaya Tunggal Jiwa dance, while the contextual study can reveal socio-cultural condition the residents in Demak regency. Bedhaya Tunggal Jiwa is one of the cultural elements in Demak society that is showed as a part of series traditional ceremony Grebeg Besar in Demak regencey. The presences human aesthetic need and also create the harmony of human and their environment. The performance of Bedhaya Tunggal Jiwa consists of several elements, including: motion, floor pettern, music, make up, clothing, properties and place of performing that overall is simple. The research result shows that Bedhaya Tunggal Jiwa is understood as teaching of life that cantains togetherness, unity and discipline to archive the useful purpose of live individually or in group. The symbolic meaning is contained in motion, floor pattern, costume, dance accompaniment, and properties that appropriate with the socio-cultural condition in Demak regency. The symbolic elements showed in the equipment that is used in the ceremonial series, the dancer actions, directions and number, integrity and social. The whole show vertical and horizontal relation activities of human being.
MAKNA SIMBOLIK TARI BEDHAYA TUNGGAL JIWA Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 13, No 2 (2013): December 2013
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v13i2.2778

Abstract

Bedhaya Tunggal Jiwa merupakan  elemen penting dalam upacara Grebeg Besar. Pada penelitian ini fenomena yang menarik untuk dikaji (1) Mengapa tari Bedhaya Tunggal Jiwa dipertunjukkan, (2) Bagaimana bentuk pertunjukan, dan (3) Apa makna simbolik yang terkandung pada tari Bedhaya Tunggal Jiwa. Di dalam memahami fenomena yang terjadi pada Bedhaya Tunggal Jiwa, penelitian ini menggunakan metode kualitatif untuk menggali berbagai data lapangan dalam menjelaskan mengenai persoalan yang terjadi. Perolehan data lapangan itu kemudian diolah dan dituliskan dengan metode deskriptif analisis dengan pendekatan etnokoreologi. Bedhaya Tunggal Jiwa merupakan salah satu unsur budaya masyarakat Demak, yang dipertunjukkan sebagai bagian dari rangkaian upacara tradisi Grebeg Besar di Kabupaten Demak. Kehadirannya sebagai kebutuhan estetis manusia serta menimbulkan keserasian manusia dan lingkungannya. Unsur yang ditampilkan pada pertunjukan Bedhaya Tunggal Jiwa terdiri dari beberapa eleman di antaranya: penari, gerak, pola lantai, musik, rias, busana, properti dan tempat pementasan.  Hasil penelitian menunjukkan bahwa makna simbolik Bedhaya Tunggal Jiwa sebagai gambaran menyatunya pejabat dengan rakyat dalam satu tempat untuk menyaksikan tari Bedhaya Tunggal Jiwa sehingga tampak sebuah kekompakkan, kedisiplinan dan kebersamaan langkah untuk menggapai cita- cita. Unsur-unsur simbolik ditunjukan pada peralatan yang digunakan dalam rangkaian upacara, tindakan yang dilakukan penari, arah dan angka,  integritas dan sosial kemasyarakatan. Makna simbolik terdapat pada gerak, pola lantai, kostum, iringan tari, dan properti yang sesuai dengan kondisi sosial budaya Kabupaten Demak. Keseluruhan menggambarkan kegiatan hubungan vertikal dan horisontal umat manusia. The Bedhaya is the important element in Grebeg Besar ceremony. In this research, the phenomenon that will be interesting to be studied are (1) Why Bedhaya Tunggal Jiwa dance is showed?, (2) How the pattern of the show is?, and (3) What the symbolic meaning of Bedhaya Tunggal Jiwa dance is?. In understanding the phenomenon happened in Bedhaya Tunggal Jiwa, this research applies the qualitative method to discover all the field data in explaining the problems occur. The result of field data, processed and written in descriptive analysis method etnokoreologi approach. That approach is done by textual and contextual analysis. The textual study, can lineout or describe in detail about the structure in Bedhaya Tunggal Jiwa dance, while the contextual study can reveal socio-cultural condition the residents in Demak regency. Bedhaya Tunggal Jiwa is one of the cultural elements in Demak society that is showed as a part of series traditional ceremony Grebeg Besar in Demak regencey. The presences human aesthetic need and also create the harmony of human and their environment. The performance of Bedhaya Tunggal Jiwa consists of several elements, including: motion, floor pettern, music, make up, clothing, properties and place of performing that overall is simple. The research result shows that Bedhaya Tunggal Jiwa is understood as teaching of life that cantains togetherness, unity and discipline to archive the useful purpose of live individually or in group. The symbolic meaning is contained in motion, floor pattern, costume, dance accompaniment, and properties that appropriate with the socio-cultural condition in Demak regency. The symbolic elements showed in the equipment that is used in the ceremonial series, the dancer actions, directions and number, integrity and social. The whole show vertical and horizontal relation activities of human being.
The Geculan Bocah Dance Performance As A Creative Space for Children Paranti, Lesa; Putri, Rimasari Pramesti; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 19, No 1 (2019): June 2019
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v19i1.23617

Abstract

This study aims to analyze the creativity of children (dancers) in the Geculan Bocah dance performance and how the performance becomes a space to arouse creativity. The case study in this research was the phenomenon of the Geculan Bocah dance performance in Sanggar Tanuwiyoyo Semarang Regency. The method used is a qualitative research method through a phenomenological approach. Data collection was done by using the method of observation, interviews, and documentation. The data analysis test used the Miles and Hubberman model through data reduction, data presentation, and drawing conclusions. Data validity used triangulation of sources, techniques, and methods. The results showed that Geculan Bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). Each part of the performance requires the creative role of the child as a dancer. Children’s creative roles include individual creativity, collaborative creativity, and communal creativity. Individual creativity attempts every child to show good performance. Collaborative creativity can be seen in the cohesiveness and togetherness during the show. The communal creativity arises because it is influenced by the audience and the atmosphere of the performance. The Geculan Bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity.
The Symbolic Meaning of the Wireng Dance Choreography at the Kasunanan Surakarta Palace Jazuli, Muhammad; Suharji, Suharji; Pebrianti, Sestri Indah
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.37181

Abstract

The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.
Co-Authors Aesijah, Sitti Anom Sutejo Bagus Susetyo Firdiyani, Nila Rizky Hikmah, Kholifatul Indriyanto, R Iryanti, Veronica Eny Latifah, Ayundha Dwi Lesa Paranti Moh. Hasan Bisri Muhammad Jazuli Muhammad Muttaqin Oktasari, Israni Putri, Rimasari Pramesti Salma, Alya Happy Suharji Suharji Utina, Usrek Tari Wahyu Lestari