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All Journal Jurnal Sitakara PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Tamumatra : Jurnal Seni Pertunjukan Jurnal Pembelajaran, Bimbingan, dan Pengelolaan Pendidikan
Dwi Rahmani
Institut Seni Indonesia Surakarta
Arts Humanities Education

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KARYA TARI BEDHAYA KIDUNG GAYATRI DALAM HARI TARI DUNIA Dwi Rahmani
Jurnal Sitakara Vol 6, No 2 (2021): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v6i2.6368

Abstract

Karya tari Bedhaya Kidung Gayatri merupakan penelitian dengan menggunakan diskriptif analitik, sifat data kualitatif, melalui pendekatan koreografi. Teknik pengumpulan data menggunakan metode observasi partisipasi, wancara dan studi pustaka. Hasil penelitian menunjukan bahwa karya tari Bedhaya Kidung Gayatri adalah sebuah bentuk koreografi kelompok dengan garap baru bedhaya yang disajikan (11) penari putri dengan kualitas garap gerak putri lanyap. Struktur garap tari Bedhaya Kidung Gayatri terdiri atas maju beksan, beksan kemanak, beksan ketawang, beksan inggah, ngelik, dan mundur beksan. Pola lantai tari Bedhaya Kidung Gayatri menggunakan pola lantai garap perubahan yang dilakukan oleh sebelas orang penari. Karawitan iringan tari disusun mengacu pada garap iringan tari bedhaya dengan beberapa pengembangan di antaranya pola lantai, sekaran dengan menggunakan gerak, irama dan dinamik. Karya tari Bedhaya Kidung Gayatri sebagai sebuah kreativitas koreografi dalam bentuk garap bedhayan.
PEMBERDAYAAN MASYARAKAT MELALUI PENYUSUNAN TARI BOTHOKLO SEBAGAI IKON DESA WISATA LEMBAH DUNGDE DESA MLILIR, KALURAHAN GENTUNGAN, KEC. MOJOGEDANG, KABUPATEN KARANGANYAR Dwi Wahyudiarto; Anggono Kusumo Wibowo; Dwi Rahmani
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 5 (2022): Seni, Tenologi, dan Masyarakat #7
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v5i1.168

Abstract

Abstract Community Empowerment through the Bothoklo Dance as an Icon of the Dungde Valley Tourism Village, Mlilir Village, Gentungan Village, Mojogedang District, Karanganyar Regency, is an accompaniment program to the community as a tangible manifestation of the implementation of the Vision of the Indonesian Institute of the Arts Surakarta. The preparation of Bothoklo Dance as an icon of a tourist village, comes from the traditional culture of the Mlilir Village community. The preparation process is carried out with the community, this is a form of creative creative education so that the community awakens its creative spirit. The method used in the preparation of the Bothoklo dance is the three R method, namely Re-Visiting, Re-Questioning and Re-Interpreting. The results of the preparation of the Botoklo Dance are then trained to the community as a strengthening of tourist attraction. The training was carried out in the Dungde Valley Tourism Village, Mlilir Village, Gentungan Village. This is intended to be closer and introduce the Surakarta Indonesian Art Institute campus to the public. In addition, the form of training with the community can also be an attraction for the community / tourists who come to the Dungde Valley. The result of this community empowerment is the composition of the Bothoklo Dance with the theme of mythological animals in Mlilir Village, packaged in the form of group dance. The music used is a variety of ethnic groups in the Mlilir area, while the clothing uses the artistic rods of mendong with the current packaging. Bothoklo dance is taught to the Mlilir community to be developed as a tourist village icon.
PROSES PENCIPTAAN KARYA TARI LAKU JANTRA Riadiana Wita Januarika; Dwi Rahmani
TAMUMATRA Vol 8 No 2 (2026)
Publisher : Universitas Hamzanwadi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29408/tmmt.v8i2.29417

Abstract

This research examines the  Laku Jantra dance work, choreographed by Riadiana Wita Januarika in 2022, embodies the values of perseverance and determination in achieving aspirations. The spirit and resilience are symbolized through the character Arimbi. Presented as a group dance with a thematic narrative, Laku Jantra is structured into four acts: the introduction, depicting inner turmoil and desire; the first act, illustrating feminine grace; the second act, envisioning the fulfillment of aspirations; and the final act, portraying anger that transitions into acceptance and self-affirmation. This study employs a qualitative research method with a descriptive approach to analyze the creative process and structure of Laku Jantra. Alma M. Hawkins' theory, as outlined in Creating Through Dance, is used to explore the stages of creation, encompassing exploration, improvisation, and composition. Additionally, Maryono’s theory from Analisa Tari is utilized to examine the verbal and non-verbal components of the dance form. The findings reveal that the structure of Laku Jantra comprises verbal elements such as dialogue, monologue, and contemplative vocals, alongside non-verbal artistic components, including theme, storyline, movements, floor patterns, costumes, music, stage design, and lighting. The choreographic movements are rooted in the traditional Surakarta-style female dance vocabulary, further developed to align with the artistic vision. This research contributes valuable insights into the creative process and structural analysis of contemporary dance, serving as a comprehensive reference for scholarly exploration in the field.
Cultural Sustainability and Social Revitalization Through Performer Regeneration: A Case of Wayang Wong Sriwedari Dwi Rahmani; Dwi Rahmani; Iwan Budi Santoso
Jurnal Pembelajaran, Bimbingan, dan Pengelolaan Pendidikan Vol. 6 No. 11 (2026)
Publisher : Universitas Negeri Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17977/um065.v6.i11.2026.6

Abstract

The field research conducted in this paper is situated against the backdrop of the need for traditional performing arts across the whole territory of Indonesia to adapt to contemporary social, cultural, and institutional conditions. Focusing on the Wayang Wong Sriwedari Javanese classical dance theater in Surakarta Indonesia, this study examines how intergenerational renewal drives artistic change and underpins cultural sustainability. Data was collected through interviews, field observations, and archival records. Preliminary findings show that young troupe members who have received formal arts education have adjusted the company’s stage composition, rehearsal processes, and social positioning. Recruiting within local government processes to help increase organizational stability and professionalization, giving even more power back to artistic collectives matched to these strategic interests locally. Furthermore, reimagined performance aesthetics embolden viewer engagement more broadly, the renewed public interest in traditional art forms is reflected in this developing sensibility. The extent and breadth of this evolution demonstrates that regeneration operates as an integrated multi-faceted set of approaches that draw on the intertwined processes of aesthetic making, civic and collective response. Some experts outline core arguments that heritage performing arts convincingly function as essential instruments for the restoration of society whenever duly supported by sound cultural policymaking and sustained participation from communities. Therefore, scholars should strive to embrace broader definitions of cultural sustainability that position it not simply as preservation but rather a dynamic continuum that intersects with regeneration in art and public interest in institutional governance and meaning.
Co-Authors Anggono Kusumo Wibowo Dwi Rahmani Dwi Wahyudiarto Riadiana Wita Januarika Santoso, Iwan Budi