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All Journal Panggung Gondang: Jurnal Seni dan Budaya Panggung
Nanik Sri Prihatini
Institut Seni Indonesia Surakarta
Arts Humanities Education

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Revitalisasi Tari Topeng Kemindu Kutai Kartanegara ing Martadipura Kalimantan Timur Belinda Astriddana; Nanik Sri Prihatini; Aris Setiawan
Gondang: Jurnal Seni dan Budaya Vol 6, No 1 (2022): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i1.32790

Abstract

Penelitian ini bertujuan untuk membangkitkan kembali ketertarikan generasi muda sebagai warisan budaya lokal. Pengenalan budaya keraton kepada masyarakat adalah sebuah gebrakan dalam menggalakkan pariwisata sekaligus sebagai penjaga cagar budaya. Suatu pengorbanan dalam kesenian yang dilakukan Sultan ke-20, Sultan H. Adji Muhammad Salehuddin II untuk mendapatkan pengakuan keberadaan mahligai Kutai Kartanegara. Dengan memperbolehkan tarian klasik tari Topeng Kemindu untuk dibawakan oleh masyarakat di luar lingkungan keraton. Penelitian ini menggunakan pendekatan penelitian pengembangan yang tidak hanya membuat sesuatu yang baru, tetapi juga dapat memperbaiki seni tari yang hampir hilang sehingga memperoleh sintesis pengetahuan baru. Dengan melihat permasalahan mengenai kepentingan dan peran Tari Topeng Kemindu, penelitian ini menggunakan perspektif fungsionalisme. Perbedaan peran yang dimiliki Tari Topeng Kemindu dari masa ke masa mempunyai tujuan untuk mempertahankan budaya yang dimiliki Kedaton Kutai Kartanegara. Jejak akulturasi ini sudah bertahan selama kurang lebih 8 abad semenjak peninggalan hubungan diplomasi antara Kerajaan Kutai Kartanegara dengan Kerajaan Majapahit. Tidak heran jika banyak kemiripan motif gerak, musik, dan kostum yang digunakan dalam kesenian tersebut. Hasilnya, Tari Topeng Kemindu selalu ada dalam perhelatan masyarakat di dalam maupun luar keraton yang digelar oleh Sultan seperti Festival Erau, penobatan sultan, perayaan kelahiran di kalangan keluarga bangsawan dan dikenal sebagai pewaris budaya kerajaan Kutai Kartanegara.
Otoritas Estetik pada Pertunjukan Tari Dolalak di Kabupaten Purworejo, Jawa Tengah Nanik Sri Prihatini
PANGGUNG Vol 33, No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i1.2474

Abstract

The Dolalak dance in Purworejo Regency is interesting to observe because it has developed with a creative appearance. At first Dolalak was presented by male dancers who seemed dashing, but with the presence of female dancers Dolalak appeared coquettish or cool. This happens because of the aesthetic authority exercised by the artists, both the composing artists and the performers. The purpose of this study was to identify and analyze the authority associated with the aesthetic touch performed by a dance leader and choreographer for the Dolalak dance, namely Melania Sinaring Putri. This research is a qualitative research used to look at the cultural phenomena of the Dolalak dance performance with a social approach that uses the theory of authority, the theory of work on, and the theory of dance creation. Data collection was carried out by way of literature study and interviews. The results of this study can be concluded that Dolalak is currently experiencing quite encouraging developments because of the creative touch of the artists as the owners. Keywords: Dolalak, authority, aesthetics, and work on.
Otoritas Estetik pada Pertunjukan Tari Dolalak di Kabupaten Purworejo, Jawa Tengah Nanik Sri Prihatini
PANGGUNG Vol 33 No 1 (2023): Nilai-Nilai Seni Indonesia: Rekonstruksi, Implementasi, dan Inovasi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i1.2474

Abstract

The Dolalak dance in Purworejo Regency is interesting to observe because it has developed with a creative appearance. At first Dolalak was presented by male dancers who seemed dashing, but with the presence of female dancers Dolalak appeared coquettish or cool. This happens because of the aesthetic authority exercised by the artists, both the composing artists and the performers. The purpose of this study was to identify and analyze the authority associated with the aesthetic touch performed by a dance leader and choreographer for the Dolalak dance, namely Melania Sinaring Putri. This research is a qualitative research used to look at the cultural phenomena of the Dolalak dance performance with a social approach that uses the theory of authority, the theory of work on, and the theory of dance creation. Data collection was carried out by way of literature study and interviews. The results of this study can be concluded that Dolalak is currently experiencing quite encouraging developments because of the creative touch of the artists as the owners. Keywords: Dolalak, authority, aesthetics, and work on.
Co-Authors Aris Setiawan Belinda Astriddana