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All Journal Harmonia: Journal of Research and Education Acintya
Hadawiyah Endah Utami
Jl. Ki Hadjar Dewantara No. 19 Surakarta (Solo)
Arts Humanities Education

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KIDUNG SEKATEN ANTARA RELIGI DAN RITUS SOSIAL BUDAYA Utami, Hadawiyah Endah
Harmonia: Journal of Arts Research and Education Vol 11, No 2 (2011)
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.v11i2.2208

Abstract

Kidung Sekaten merupakan karya tari yang dipentaskan pada upacara gerebeg Sekaten di depan Masjid Agung Surakarta.  Perkembangan pengaruh Islam di pusat kerajaan relatif menggunakan sarana adat yang telah dipelihara masyarakat secara turun-temurun. Masyarakat setempat menerima kehadiran Islam sebagai suatu pelengkap kebutuhan rohaniah sehingga tercapai keseimbangn hidup.  Perayaan Sekaten sebagai salah satu wujud percampuran budaya  menyangkut  berbagai aspek multidimensi.  Islam  menyatu dengan kebudayaan setempat dengan cara  elastis, baik yang berhubungan dengan pengenalan simbol-simbol Islami  maupun  ritus-ritus keagamaan.  Kidung  Sekaten merupakan salah satu garapan  tari untuk mendukung upacara ritual pengucapan shahadatain di depan Masjid Agung Surakarta dengan memanfaatkan bunyi gamelan sekaten,  keramaian bunyi rebana, orang mengaji, santiswaran, Kidungan, mainan gasingan, sebagai iringan tari  yang diselenggarakan bersamaan dengan gerebeg Maulud. Sekaten chants constitute a dance performed during Gerebeg Sekaten ceremony in front of Grand Mosque of Surakarta. The development of Islamic influence in Surakarta royal palace relatively used custom rites that have socially been maintained throughout the generations. Local people accepted Islamic religion as their spiritual need for achieving life balance. Sekaten celebration as one of acculturation forms encompasses many kinds of multidimensional aspects. Islam elastically blends into local cultures, either in Islamic symbols or religious rites. Sekaten chants is one of dancing performances to endorse the ritual ceremony of Shahadatain articulation in front of the Grand Mosque by making use of Sekaten traditional musical orchestra, the jingling of tambourine, man’s praying voice, santiswaran, chants, spinning a top, as the dance accompaniment along with Gerebeg Maulud.
KIDUNG SEKATEN ANTARA RELIGI DAN RITUS SOSIAL BUDAYA Utami, Hadawiyah Endah
Harmonia: Journal of Arts Research and Education Vol 11, No 2 (2011)
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.v11i2.2208

Abstract

Kidung Sekaten merupakan karya tari yang dipentaskan pada upacara gerebeg Sekaten di depan Masjid Agung Surakarta.  Perkembangan pengaruh Islam di pusat kerajaan relatif menggunakan sarana adat yang telah dipelihara masyarakat secara turun-temurun. Masyarakat setempat menerima kehadiran Islam sebagai suatu pelengkap kebutuhan rohaniah sehingga tercapai keseimbangn hidup.  Perayaan Sekaten sebagai salah satu wujud percampuran budaya  menyangkut  berbagai aspek multidimensi.  Islam  menyatu dengan kebudayaan setempat dengan cara  elastis, baik yang berhubungan dengan pengenalan simbol-simbol Islami  maupun  ritus-ritus keagamaan.  Kidung  Sekaten merupakan salah satu garapan  tari untuk mendukung upacara ritual pengucapan shahadatain di depan Masjid Agung Surakarta dengan memanfaatkan bunyi gamelan sekaten,  keramaian bunyi rebana, orang mengaji, santiswaran, Kidungan, mainan gasingan, sebagai iringan tari  yang diselenggarakan bersamaan dengan gerebeg Maulud. Sekaten chants constitute a dance performed during Gerebeg Sekaten ceremony in front of Grand Mosque of Surakarta. The development of Islamic influence in Surakarta royal palace relatively used custom rites that have socially been maintained throughout the generations. Local people accepted Islamic religion as their spiritual need for achieving life balance. Sekaten celebration as one of acculturation forms encompasses many kinds of multidimensional aspects. Islam elastically blends into local cultures, either in Islamic symbols or religious rites. Sekaten chants is one of dancing performances to endorse the ritual ceremony of Shahadatain articulation in front of the Grand Mosque by making use of Sekaten traditional musical orchestra, the jingling of tambourine, man’s praying voice, santiswaran, chants, spinning a top, as the dance accompaniment along with Gerebeg Maulud.
Proses Kreativitas dalam Penciptaan Tari Srimpi Pudyastuti Utami, Hadawiyah Endah
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4857

Abstract

This  research  is  an  experimental  study  of  creative  process  issues  in  the  creation  of  the  Srimpi Pudyastuti dance, the aim of which is to reveal how creative practice ideas of traditional dance are developed by artists with a background in creativity in the cultural and performing arts realms. The method used is a qualitative research method with a choreographic approach. Data collection, observation, literature study  and  interviews.  The  results  of  the  study  show  that  the  Srimpi  Pudyastuti  dance,  in  its  creative process, uses a combination of the concepts of working on the dance movements of the Surakarta Style and Yogyakarta Style which have been stylized into new forms of movement. The creation was inspired by the realities of life that are happening all over the world, namely the Covid-19 pandemic and the stagnation in the development of the group dance genre, especially the srimpi dance. In the creative process, motion exploration is considered to form space and rhythm as well as the findings of the motions that characterize Srimpi Pudyastuti with her vocal movements using a lot of gliding (floating) motions.Keyword: srimpi pudyastuti, creativity, creative process
Proses Kreativitas dalam Penciptaan Tari Srimpi Pudyastuti Utami, Hadawiyah Endah
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.4857

Abstract

This  research  is  an  experimental  study  of  creative  process  issues  in  the  creation  of  the  Srimpi Pudyastuti dance, the aim of which is to reveal how creative practice ideas of traditional dance are developed by artists with a background in creativity in the cultural and performing arts realms. The method used is a qualitative research method with a choreographic approach. Data collection, observation, literature study  and  interviews.  The  results  of  the  study  show  that  the  Srimpi  Pudyastuti  dance,  in  its  creative process, uses a combination of the concepts of working on the dance movements of the Surakarta Style and Yogyakarta Style which have been stylized into new forms of movement. The creation was inspired by the realities of life that are happening all over the world, namely the Covid-19 pandemic and the stagnation in the development of the group dance genre, especially the srimpi dance. In the creative process, motion exploration is considered to form space and rhythm as well as the findings of the motions that characterize Srimpi Pudyastuti with her vocal movements using a lot of gliding (floating) motions.Keyword: srimpi pudyastuti, creativity, creative process
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