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All Journal Harmonia: Journal of Research and Education Acintya Gelar : Jurnal Seni Budaya Greget
Dwi Wahyudiarto
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Arts Humanities Education

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Makna Tari Canthangbalung dalam Upacara Gunungan di Kraton Surakarta (The Meaning of Canthangan Dance in Gunungan Ceremony in Surakarta Castel) Wahyudiarto, Dwi
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
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.v7i3.739

Abstract

Dalam upacara gerebeg gunungan di Surakarta dan Yogyakarta Canthangbalung merupakan penaridi barisan paling depan yang bertindak sebagai pemimpin upacara. Berbagai atribut, rias busanayang unik serta gerak-gerik yang lucu, membuat orang menjadi gembira. Sebagai pemimpinupacara, Canthangbalung tidak saja memimpin rombongan secara fisik, akan tetapi jugabertanggungjawab keselamatan semua rombongan. Dalam budaya Jawa bertugas untuk nyingkirkegodho rencana dan sarap sawan, baik yang kasat mata maupun yang tidak kasat mata. Kehadirantari Canthangbalung dalam gerebeg gunungan memiliki makna ganda yaitu disamping sebagaihiburan, juga penjaga keselamatan serta makna-makna yang sangat filosofis, berkait denganmasyarakatnya. Simbol sebagai fenomena fisik, terlihat dalam bentuk fisik dari tariCanthangbalung dengan berbagai atribut gerak dan asesorinya. Pemaknaan simboliknya dipahamioleh masyarakat pendukung sudah diyakini semenjak jauh generasi sebelumnya.Kata Kunci : makna tari, Canthangan, gunungan, gerebeg,
Makna Tari Canthangbalung dalam Upacara Gunungan di Kraton Surakarta (The Meaning of Canthangan Dance in Gunungan Ceremony in Surakarta Castel) Wahyudiarto, Dwi
Harmonia: Journal of Arts Research and Education Vol 7, No 3 (2006)
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.v7i3.739

Abstract

Dalam upacara gerebeg gunungan di Surakarta dan Yogyakarta Canthangbalung merupakan penaridi barisan paling depan yang bertindak sebagai pemimpin upacara. Berbagai atribut, rias busanayang unik serta gerak-gerik yang lucu, membuat orang menjadi gembira. Sebagai pemimpinupacara, Canthangbalung tidak saja memimpin rombongan secara fisik, akan tetapi jugabertanggungjawab keselamatan semua rombongan. Dalam budaya Jawa bertugas untuk nyingkirkegodho rencana dan sarap sawan, baik yang kasat mata maupun yang tidak kasat mata. Kehadirantari Canthangbalung dalam gerebeg gunungan memiliki makna ganda yaitu disamping sebagaihiburan, juga penjaga keselamatan serta makna-makna yang sangat filosofis, berkait denganmasyarakatnya. Simbol sebagai fenomena fisik, terlihat dalam bentuk fisik dari tariCanthangbalung dengan berbagai atribut gerak dan asesorinya. Pemaknaan simboliknya dipahamioleh masyarakat pendukung sudah diyakini semenjak jauh generasi sebelumnya.Kata Kunci : makna tari, Canthangan, gunungan, gerebeg,
KAYA TARI “MANUKSMA” SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2709.728 KB) | DOI: 10.33153/grt.v5i2.293

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and Still many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] panda waKeyword: Puppet, Enviroment
KAYA TARI MANUKSMA SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2563.817 KB) | DOI: 10.33153/grt.v2i2.257

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and St ill many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] pandawa Keyword: Puppet, Enviroment.
PERUBAHAN DAN KONTINUITAS SENI BARONGSAI DI SURAKARTA PASCA REFORMASI Wahyudiarto, Dwi
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3349.61 KB) | DOI: 10.33153/acy.v1i2.79

Abstract

This article is based On individual research focussed on barongsai and its journey in Surakarta after the reformation era. Barongsai art performance in New Orde era is paid less attention as a creative pmduct. It has developed after post reformation era. This kind of Chinese ethnic performance has changed artistically and technically after the reformation era. Barongsai, in the former~ is usedfor ritual usage and it has been changing nowadays especially for social funcion. This article examines baron gsai of Chinese ethnic through special approach and interpretative description based on its data sources empirically. Barongsai art performance as an material object would be exposed as much as possible while it is accompanied by everything which supports its existence nowdays. Several things indicate that baron gsai appearence had been supported by ritual needs, social needs, aesthetic needs, and existence needs. Barongsai and its development during the post reformation era give much impact to its existence connected to afair regulation and the changes of societiy which gradually welcoming upon this kind of art performance. Even it is often related to the frequently shows increase among Chinese ethnic who perform the barongsai and it shows us, in other way, that the creative world must be appeared in the field ofperforining arts. Keywords: barongsai, continuities, change, reformation
PRESENTASI ESTETIS JARANAN SENTEREWE KOMUNITAS MANUNGGAL REKSO BUDOYO DALAM FESTIVAL JARANAN TRENGGALEK TAHUN 2023 Margareta, Sherly Hanggary; Wahyudiarto, Dwi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.6729

Abstract

This study examines the aesthetic presentation of the Jaranan Senterewe performance by the Manunggal Rekso Budoyo community at the 2023 Trenggalek Jaranan Festival. The research aims to analyze both the structural form and aesthetic components of the performance, using Sumandiyo Hadi’s theory of performance form and Doris Humphrey’s theory of performance aesthetics (as translated by Sal Murgiyanto). Employing a qualitative research method, data were collected through observation, interviews, and literature review. The findings indicate that the Jaranan Senterewe performance comprises distinctive elements such as dominant movements of the hands, feet, and head influenced by East Javanese traditions; a rigging stage as the performance space; pelog-based musical accompaniment with gendhing lancaran and sampak patterns; and a thematic emphasis on struggle and heroism. The performance features a group dance format with 14 male dancers, traditional costumes, bold makeup, neutral lighting, and symbolic props including kuda kepang, whips, Celeng, and Barongan. The aesthetic structure includes four main components: (1) Design, encompassing spatial formations and temporal sequencing; (2) Dynamics, involving variations in movement and musical intensity; (3) Rhythm, marked by traditional patterns such as mungkus and midak; and (4) Motivation, structured into opening, main, and closing sections. This study concludes that Jaranan Senterewe is a performance rich in symbolic meaning and artistic expression, contributing to the cultural vibrancy of East Javanese traditional arts.
Relevance of the Values of Bedhaya Ketawang In the Life of Society Today Maryono, Maryono; Widawati, Setya; Yuliarmaheni, Ni Nyoman; MD, Slamet; Wahyudiarto, Dwi; Midiyanto, Midiyanto
Gelar: Jurnal Seni Budaya Vol. 20 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i2.4576

Abstract

Surakarta, a city formerly under the rule of the New Mataram dynasty established by Paku Buwana II in 1746, inherited a wealth of arts which led to its designation as a cultural center. Jumenengan is a cultural legacy in the form of a ceremony, held annually in the Javanese month of Ruwah, on the day of Selasa Kliwon, or Anggara Kasih, to celebrate the anniversary of the coronation of the king of Kasunanan Surakarta. The main prerequisite of the Jumenengan ceremony is the performance of the Bedhaya Ketawang dance, which provides legitimacy for the ceremony. The position of the Bedhaya Ketawang dance in the Jumenengan ceremony is as an heirloom with magical, sacred, prestigious value. Its presence gives legitimacy and credibility to the continued power of the king. As a cultural legacy, the Bedhaya Ketawang dance contains life values that can be absorbed both implicitly and explicitly. These include spiritual values, values of love for the natural environment, ethical values, aesthetic values, and values of love, all of which are relevant to the life of society today. The relevance of these values provides encouragement and motivation to build and develop the character of the Indonesian nation today as a society of faith, devotion to God, noble character, healthy knowledge, skill, creativity, independence, democracy, and responsibility.
PERUBAHAN DAN KONTINUITAS SENI BARONGSAI DI SURAKARTA PASCA REFORMASI Wahyudiarto, Dwi
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v1i2.79

Abstract

This article is based On individual research focussed on barongsai and its journey in Surakarta after the reformation era. Barongsai art performance in New Orde era is paid less attention as a creative pmduct. It has developed after post reformation era. This kind of Chinese ethnic performance has changed artistically and technically after the reformation era. Barongsai, in the former~ is usedfor ritual usage and it has been changing nowadays especially for social funcion. This article examines baron gsai of Chinese ethnic through special approach and interpretative description based on its data sources empirically. Barongsai art performance as an material object would be exposed as much as possible while it is accompanied by everything which supports its existence nowdays. Several things indicate that baron gsai appearence had been supported by ritual needs, social needs, aesthetic needs, and existence needs. Barongsai and its development during the post reformation era give much impact to its existence connected to afair regulation and the changes of societiy which gradually welcoming upon this kind of art performance. Even it is often related to the frequently shows increase among Chinese ethnic who perform the barongsai and it shows us, in other way, that the creative world must be appeared in the field ofperforining arts. Keywords: barongsai, continuities, change, reformation
Co-Authors Margareta, Sherly Hanggary Maryono Maryono Midiyanto, Midiyanto Slamet MD, Slamet Widawati, Setya Yuliarmaheni, Ni Nyoman