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PUNAN LETO: IDENTITAS KULTURAL MASYARAKAT DAYAK KENYAH Gabriella Mening; Rina Martiara; Tutik Winarti
Joged Vol 19, No 1 (2022): APRIL 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v18i1.6973

RINGKASAN Tulisan ini menganalisis tari Punan Leto pada masyarakat suku Dayak Kenyah khususnya di desa Ritan Baru dan Tukung Ritan dengan pendekatan sosial budaya dari teori Raymond Williams. Dalam teori Williams memiliki tiga komponen pokok yaitu, lembaga budaya (Institution), isi (content), dan efek (effect). Lembaga budaya menanyakan siapa yang menghasilkan produk budaya, siapa yang mengontrol dan bagaimana cara mengontrol itu dilakukan; komponen isi lebih fokus pada apa yang dihasilkan atau simbol-simbol apa yang diusahakan; dan komponen efek menanyakan konsekuensi apa yang diinginkan dari proses budaya tersebut. Ketiga aspek ini dapat dipakai untuk memahami bagaimana tari Punan Leto menjadi identitas budaya Dayak Kenyah.ABSTRACT This research is discusses how art, especially dance, becomes a cultural identity in the Dayak Kenyah community, especially those in the villages of Ritan Baru and Tukung Ritan. Punan Leto dance is a traditional dance in the Dayak Kenyah community. This study uses a socio-cultural approach with Raymond Williams’ theory to formulate the problem, namely: Who maintains? What are the aspects that make up identity? What to expect when it comes to identity. The purpose of this study is to describe how the Punan Leto dance becomes the cultural identity of the Dayak Kenyah community.

FENOMENA PERKEMBANGAN TARI NIRBAYA KARYA SETYASTUTI Kurnia Rahmadhani; Rina Martiara; Budi Astuti
Joged Vol 18, No 2 (2021): OKTOBER 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v17i2.6349

ABSTRAKTari Nirbaya karya Setyastuti, merupakan sebuah karya tari yang terinspirasi dari ‘edan-edanan’. ‘Edan-edanan’ merupakan rangkaian upacara yang harus ada saat ritual upacara temanten agung di Kraton Yogyakarta. Proses terciptanya tari Nirbaya diawali saat Setyastuti melihat secara langsung rangkaian upacara perkawinan yaitu ‘edan-edanan’ dalam prosesi pernikahan GBPH Cokroningrat, yaitu putra Sri Sultan Hamengkubuwana IX. Keberadaan ‘edan-edanan’ dalam upacara temanten agung Kraton Yogyakarta merupakan sebuah ritual adat yang berfungsi sebagai penolak bala. Figur yang unik yang bertugas sebagai cucuk lampah dan diperankan oleh abdi dalem khusus yang dipercayai dapat mengusir hal-hal gaib yang dapat menganggu acara. Nirbaya dalam bahasa Jawa yang artinya ora ana alangan; ora ana bebaya (tidak ada halangan; tidak ada bahaya), sehingga kata Nirbaya dapat diterjemahkan sebagai sesuatu untuk menolak bahaya atau menghalau dari yang sifatnya negatif. Ditarikan oleh sepasang penari laki-laki dan perempuan, dengan tidak melupakan esensi gerak tari gaya Yogyakarta yang dirancang dengan nuansa komikal yang diwarnai gerak-gerak improvisasi.Terinspirasi dari tradisi itulah, tari Nirbaya diciptakan untuk mewakili Daerah Istimewa Yogyakarta dalam rangka Festival Tari Nusantara pada tanggal 31 Desember 1989. Dalam perspektif fenomenologi penelitian ini menampakkan sebuah fenomena kondisi faktual di masyarakat, setelah tari Nirbaya dipentaskan di Jakarta menampakkan tari Nirbaya tetap difungsikan untuk keperluan upacara pernikahan dan berkembang sampai sekarang. Dalam berbagai peristiwa tersebut menampakkan unsur gerak improvisasi, menyebabkan terjadinya perubahan sesuai dengan kreativitas penarinya. Perubahan yang mencolok adalah pada gerak improvisasi, pelaku, pola lantai, penari, rias dan busana sehingga bentuk penyajiannya mengalami perubahan.ABSTRACTNirbaya dance by Setyastuti, is a new dance work inspired by 'edan-edanan'. 'edan-edanan' is a series of ceremonies that must be present during the ritual of the temanten agung ceremony, especially at the Yogyakarta Palace. The creation process of the Nirbaya dance began when Setyastuti saw firsthand the series of wedding ceremonies, namely 'edan-edanan' in the wedding procession of GBPH Cokroningrat, the son of Sri Sultan Hamengkubuwana IX. The existence of 'edan-edanan’ in the ceremony of temanten agung Kraton Yogyakarta is a traditional ritual that functions as a repellent to disaster. The unique figure who serves as a cucuk lampah and is played by the abdi dalem, specifically becomes the figure of a lunatic who is often called 'edan-edanan' '. This figure portrays a figure as ‘edan-edanan’ just acting, but not crazy. It is the form of a madman that is believed to be able to ward off magical things that can interfere with the event. According to Setyastuti, 'edan-edanan' is a unique figure, when a dance is made it looks interesting without forgetting the nuances of classical dance in Yogyakarta style and the nuances of the rituals of the great temanten ritual in the Yogyakarta Palace. Inspired by this tradition, Setyastuti finally created the Nirbaya dance in the framework of the Festival Tari Nusantara in Jakarta representing the Special Region of Yogyakarta on December 31, 1989. Nirbaya is in Javanese which means ora ana alangan; ora ana bebaya (no obstruction; no danger), so that the word Nirbaya can be translated as something to reject danger or drive away from negative things. Danced by a pair of male and female dancers, not forgetting the essence of Yogyakarta-style dance movements designed with comical nuances tinged with improvised movements. In a phenomenological perspective, this research shows a phenomenon of factual conditions in society, after the Nirbaya dance was staged in Jakarta, it shows that the Nirbaya dance is still used for the purposes of wedding ceremonies and is developing until now. In various events, the elements of improvisational motion are seen, causing changes to occur according to the creativity of the dancers. The striking changes are in the improvisation movement, actors, floor patterns, dancers, make-up and clothing so that the form of presentation changes.

Tari Gandrung Terob Sebagai Identitas Kultural Masyarakat Using Banyuwangi Mrs. RINA MARTIARA dan ARIE YULIA WIJAYA
Joged Vol 3, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v3i1.57

Tari Gandrung Terob sebagai Identitas Kultural Masyarakat Using Banyuwangi. Gandrung Terobmerupakan objek yang dikaji guna mengupas pola pikir masyarakat Using Banyuwangi. Sudut pandang yangdipakai adalah Strukturalisme Levi-Strauss. Struktur merupakan susunan bagian-bagian dari suatu sistemyang saling terkait. Segala sesuatu yang memiliki bentuk diyakini memiliki struktur. Struktur kalimat dalambahasa yang terdiri atas susunan huruf, fonem, dan kata, tidak akan memiliki arti apabila tidak terdapatrelasi-relasi yang menghubungkannya untuk mendapatkan struktur yang bermakna. Keberadaan tari Gandrung Terob dilihat secara menyeluruh, tidak saja sebatas teks dan keterkaitan antarteks saja, melainkan pada konteks sosial budaya masyarakatnya. Melalui cara pandang holistik ini akanditemukan pola pikir masyarakat Using sebagai pemilik tari Gandrung Terob. Hal yang paling mendasardalam melihat pola pikir adalah melihat konsep, sehingga Gandrung Terob tidak hanya dilihat sebagaiartefak semata melainkan sebagai pandangan hidup atau ideologi masyarakat Using sebagai penyangganya. Key Words: Gandrung Terob, Using, Identitas Kultural

Analisis Simbolik Kyrie Eleison Karya Anna Wahyu Prasetyowati RINA MARTIARA; ANISA FEBRIANA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.471

Symbolic Analysis of Kyrie Eleison of Anna Wahyu Prasetyowati’s Work. This paper describes and interpretsthe Kyrie Eleison as a performing arts. Kyrie Eleison text is read through choreography elements that shape thethemes, motion, musical accompaniment, fashion makeup, fl oor pattern, form and stage layout. This paper useshermeneutic approach. Based on the research it can be concluded that this work has a deep meaning. The story ofJesus Christ journey in teaching the word with great passion until his death on the Cross is fi xated religious valuesthat serve as an example for mankind. This work also contains the values of humanity that every human being mustbe having a miserable, suffering, and death. Humans must be steadfast and strong in the face of every temptationthat comes when he/she want to achieve the highest inner awareness and understanding of divine truth.

Malay Dance: Expression on Maritime Society Rina Martiara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractNusantara as bhinneka (unity) culture has not been studied completely and comprehensively. It is only called as equatorial emerald region that most of the people are farmer. Children’s song says that my grandmother is a sailor, but Nusantara’s society can not precisely express the distance of society with the ocean. The current dance research examines dance as a particularistic study of dance on a particular tribe, and it ignores the extensive research on a large scale. This study will evolve to find the cultural mapping of Nusantara dance based on cultural style categorization of mental map; it is a new awareness of how to think based on cultural geography. The approach of the study was the analysis of the motion structure that builds a dance and all the supporting aspects that will create the cultural style of the community. Textual analysis will examine the elements of dance those are motion, accompaniment, floor pattern, property, makeup and clothing, outfit of show. Contextual analysis was used to analyze the cultural values in the dance. Those two methods can be used to draw aesthetic patterns possessed by Malay culture. The conclusion of maritime culture pattern study presented that there were four different patterns with farmer community pattern which have three patterns and rice farmer which have five patterns.Keywords: Malay dance; maritime culture; pattern of fourAbstrakTari Melayu: Ekspresi Masyarakat Maritim. Nusantara sebagai budaya yang bhinneka selama ini belum mendapat kajian secara tuntas dan komprehensif. Nusantara hanya disebut sebagai daerah zamrud khatulistiwa yang sebagian besar masyarakatnya adalah petani. Lagu anak-anak mengatakan bahwa nenek moyangku seorang pelaut, tetapi justru masyarakat Nusantara tidak mampu menyatakan secara jelas jarak masyarakat dengan lautan. Penelitian tari yang berkembang sekarang ini umumnya lebih banyak melihat tari sebagai studi yang partikularistik mengenai tari pada suatu suku bangsa tertentu, dan melupakan kajian yang meluas dalam skala besar. Kajian ini akan berkembang untuk menemukan pemetaan budaya tari Nusantara berdasarkan kategorisasi gaya budaya yang didasarkan pada mental map, yaitu satu kesadaran baru tentang cara berpikir berdasarkan geografi budaya. Pendekatan yang digunakan adalah analisis struktur gerak yang membangun sebuah tari dan seluruh aspek pendukungnya yang akan membentuk gaya budaya masyarakat tersebut. Analisis tekstual akan mengkaji unsur-unsur tari yang terdiri dari: gerak, iringan, pola lantai, properti, rias dan busana, perlengkapan pertunjukan. Analisis kontekstual digunakan untuk menganalisis nilai-nilai budaya yang terkandung di dalam tari tersebut. Dari kedua metode tersebut dapat dipetakan pola estetis yang dimiliki oleh budaya Melayu. Simpulan yang dapat ditarik bahwa pola budaya maritim adalah pola empat yang berbeda dengan pola masyarakat petani ladang yang berpola tiga dan petani sawah yang berpola lima.Kata kunci: tari Melayu; budaya maritim; pola empat

Barentak Function In Barumpe Mayang Ceremony In Dayak Simpakng Tribe Rina Martiara; Budi Astuti; Ranty Muwa Pratama
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Barentak dance is a dance by Boren (shaman) at Barumpe Mayang ritual ceremony in Dayak Simpakng tribe. Barentak is a foot-centered movement, which is a foot beat that follows the sound of accompaniment music and rayah (singing) sung by Pabayu. At the time of Barentak, Boretn was in a trance state to communicate with Duata or God, the spirits of ancestors to be present in Barumpe Mayang.Barentak is the centerpiece of the Barumpe Mayang. Barentak dance can not be separated in the running of the ritual. Barumpe Mayang is an ordination ceremony (level increase) performed by a Form to clean his body (mansiakng daging) by using pinang flowers (mayang). With this ordination it is expected that a Boretn will pass through renewal, be cleansed from disease, kept away from danger, given good luck, and given back strength (spiritual power).To solve research problems, structural functionalism theory is an anthropological perspective of Brown. This theory explores society as a social system, wherein the concept there is a concept of conditions of existence. The condition of existence is used as a process to achieve existence (something), which involves existence other than human beings to meet the needs of what is being done. If there is a missing structure and element, then there will be an imbalance, so Barumpe Mayang and Barentak dance cannot be done.The analogy is used to see the function of Barentak in the ceremony Barumpe Mayang. There are very supportive structures in it such as Barentak dance, motion, actors, accompaniment and poetry, offerings, makeup and clothing, floor patterns and so on. The structures, elements and parts are interconnected in the Barumpe Mayang ceremony, functioning, integrating, moving and operating in the unity of the system.Keywords: Barentak, Barumpe Mayang , Dayak Simpakng Tribe.

Pelestarian Tari Andun pada Masyarakat Bengkulu Selatan Sella Tri Komala; Supriyanti Supriyanti; Rina Martiara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu

ANALISIS KOREOGRAFI TARI SETABEK DI KABUPATEN MUSI BANYUASIN SUMATERA SELATAN Widya Yuli Sartika; Rina Martiara; Budi Astuti
Joged Vol 22, No 2 (2023): OKTOBER 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v22i2.11276

RINGKASANTari Setabek merupakan tari penyambutan tamu yang menjadi ciri khas dari Kabupaten Musi Banyuasin Sumatera Selatan. Tari ini ditarikan oleh 10 orang penari yang terdiri dari 1 orang penari utama (pembawa tepak), 2 orang penari dayang penabur bunga, 4 orang penari pengiring, 2 orang pembawa tombak (laki-laki), dan 1 orang pembawa payung (laki-laki). Untuk menganalisis, dipakai pendekatan koreografi. Analisis pendekatan koreografi meliputi aspek bentuk, teknik, dan isi serta aspek tenaga, ruang dan waktu. Ketiga konsep tersebut merupakan satu kesatuan yang utuh. Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi kebentukan, variasi, repetisi, transisi, rangkaian, dan klimaks. Struktur tari Setabek terdiri dari 3 bagian berdasarkan pola iringan, pola gerak, dan pola lantai, yaitu Jebo Maro (pembuka), Bedundai (inti), dan Karang Buri (penutup). Secara koreografis dapat disimpulkan bahwa ragam gerak yang spesifik pada tari Setabek adalah motif tabek dan motif lambaian, karena motif tersebut sering muncul atau dilakukan berulang kali dan juga sebagai motif penghubung antara gerakan yang satu dengan yang lainnya. Dari analisis struktur, tari Setabek memiliki 6 kalimat gerak dan 18 frase. Jumlah keseluruhan motif yang ada pada tari Setabek yaitu 128 motif yang terdiri atas 11 jenis motif dari 123 jumlah motif putri dan 5 jenis motif dari 5 jumlah motif laki-laki dengan 10 pola lantai yang digunakan. Dari struktur ini terlihat secara kebentukan bahwa tari Setabek merupakan tari yang bertemakan penyambutan tamu yang bisa dilihat dari gerakannya yang mencirikan penghormatan. Secara teknik gerak-gerak dalam tari Setabek ini memiliki kecendrungan bergerak sejajar dengan torso dan gerakan yang dilakukan juga tidak terlalu luas atau lebar, kebanyakan gerak yang dilakukan bergerak secara lemah lembut dan mengayun, serta hal tersebut juga didukung dengan musiknya yang sangat lembut dan mengalir. Secara isi tari Setabek merealisasikan nilai-nilai yang ada dalam masyarakat Musi Banyuasin, hal tersebut terlihat dari segi kostum, properti, dan lain-lain.ABSTRACTThis study analyzes the choreography of the Setabek dance in Musi Banyuasin Regency, South Sumatra. Setabek dance is a welcoming dance that is characteristic of Musi Banyuasin Regency, South Sumatra. This dance is danced by 10 dancers consisting of 1 main dancer (slap bearer), 2 flower-sowing dayang dancers, 4 accompaniment dancers, 2 spear bearers (male), and 1 umbrella carrier (male). To analyze, used a choreographic approach. The analysis of the choreographic approach includes aspects of form, technique, and content as well as aspects of energy, space and time. The three concepts are a unified whole. The understanding of choreographic analysis consists of the principles of formation which include formation, variation, repetition, transition, sequence, and climax. The structure of the Setabek dance consists of 3 parts based on the accompaniment pattern, movement pattern, and floor pattern, namely Jebo Maro (opener), Bedundai (core), and Karang Buri (cover). Choreographically, it can be concluded that the specific range of motion in the Setabek dance is the tabek motif and the waving motif, because these motifs often appear or are performed repeatedly and also serve as a connecting motif between one movement and another. From the structural analysis, the Setabek dance has 6 sentences of movement and 18 phrases. The total number of motifs in the Setabek dance is 128 motifs consisting of 11 types of motifs from 123 female motifs and 5 types of motifs from 5 male motifs with 10 floor patterns used. From this structure, it can be seen from the form that the Setabek dance is a dance with the theme of welcoming guests which can be seen from its movements that characterize respect. Technically the movements in this Setabek dance have a tendency to move parallel to the torso and the movements performed are also not too broad or wide, most of the movements performed are gentle and swaying, and this is also supported by the music which is very soft and flowing. The content of the Setabek dance realizes the values that exist in the Musi Banyuasin community, this can be seen in terms of costumes, properties, and others.

CANGGET SEBAGAI IDENTITAS KULTURAL PADA MASYARAKAT LAMPUNG Martiara, Rina
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

This article talking about a Cangget dance of Lampung society and its identity related to the dance performance itself The Cangget dance and its specific field of its performance because of it was danced by a group of female dancers. Uniquelly the female dancers mostly the daughters of the traditional ethnic leaderand their appearance represents the unappearance of the ethnic leaders. Here! would like to examine through this article in what kind of the Cangget dance and its role as a culktural identity amongs Lampung society furthe rmore the extended role of this dance tradition presently. In other ways this article will also examine the Cangget dance by using sosio-historical approach in order to analyze the Cangget dance and its existence into the pattern of culture, system of value and its norms related to the intercontextualities of cultural diversity.Â Keywords: Cangget dance, cultural identity, society.

Makna Uang Panaik dalam Pernikahan Suku Bugis-Makassar sebagai Ide Penciptaan Tari Akkulle Clara Ayu Gita Romantri Riyanto; Rina Martiara
Jurnal Riset Multidisiplin Edukasi Vol. 2 No. 5 (2025): Jurnal Riset Multidisiplin Edukasi (Edisi Mei 2025)
Publisher : PT. Hasba Edukasi Mandiri

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.71282/jurmie.v2i5.267

The Akkulle dance work is a work inspired by one of the series of traditional wedding processions, namely madduppa botting, which exists in the Bugis-Makassar tribe from South Sulawesi Province. The word Akkulle itself comes from the Bugis-Makassar language which means capable, where when men want to marry women they must be able to work hard, struggle, try and never give up to collect Panaik money. The process of creating the Akkulle dance work refers to the traditional procession or habits of the Bugis-Makassar people in carrying out the wedding procession. The Akkulle dance work departs from several motifs in the paduppa dance and pamanca dance originating from South Sulawesi. Therefore, the creator made the paduppa dance and pamanca dance as basic movements, which were gradually developed by the arranger from the aspects of space, level, and direction with the accompaniment of traditional Makassar music to add to the atmosphere. The arranger uses South Sulawesi regional musical instruments as the basis for the dance accompaniment to maintain the regional atmosphere that will be presented. The Akkulle dance work is a 24-minute dance work, which is divided into four scenes that visualize the Bugis-Makassar traditional wedding procession and the values contained therein. The Bugis-Makassar traditional wedding ceremony is the end of a man's long struggle to collect dowry to propose to his beloved. The Akkulle dance work has become a general view for the wider community regarding the Bugis-Makassar traditional wedding procession.

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