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All Journal JOGED Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Acintya IDEA: Jurnal Seni Pertunjukan Jurnal Riset Multidisiplin Edukasi Jurnal Seni Tari
Rina Martiara
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Other

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Tari Nenemo Sebagai Identitas Masyarakat Kabupaten Tulang Bawang Barat Mariska, Fransiska Ria; Martiara, Rina; Manganti, Galih Suci; Winarti, Tutik
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 19, No 1 (2025)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v19i1.16623

Abstract

Tari Nenemo, yang dipersembahkan sejak 2016 di Kabupaten Tulang Bawang Barat, Lampung, merupakan sebuah representasi identitas yang dirancang oleh pemerintah daerah sebagai fondasi jati diri dan pembangunan masyarakat wilayah pemekaran baru. Tarian ini menyatukan keberagaman budaya, aktivitas keseharian, serta filosofi hidup yang mendalam nilai kerja keras ("nemen"), pantang menyerah ("nedes"), dan keikhlasan ("nerimo") yang berakar dari kearifan lokal Piil Pesenggiri. Sebagai respons terhadap dinamika sosio-politik pasca pemekaran, Tari Nenemo diharapkan mampu merefleksikan serta mengangkat karakteristik khas masyarakat Tulang Bawang Barat, terutama di tengah dominasi penduduk transmigran, dengan usaha pelestarian dan sosialisasi budaya sebagai upaya mewariskan nilai-nilai tersebut kepada generasi mendatang. Penelitian terkait berfokus pada pengungkapan makna dan elemen simbolik dalam tarian ini guna memahami kesesuaiannya dengan konteks sosial budaya lokal, meskipun kajian mendalam menggunakan lensa semiotika Charles Sanders Peirce masih belum banyak dilakukan. Literatur dan studi sebelumnya yang memaparkan proses penciptaan, penyajian, serta aspek musikalitas pendamping Tari Nenemo, bersama dengan referensi mengenai identitas kultural Lampung, memberikan gambaran bahwa setiap unsur pertunjukan mulai dari gerakan, ekspresi, kostum, dan properti berperan tak hanya sebagai elemen estetis, melainkan juga sebagai cerminan falsafah hidup dan dinamika sosial yang otentik, sehingga tarian ini menjadi simbol identitas yang kuat di tengah arus modernisasi. 
CANGGET SEBAGAI IDENTITAS KULTURAL PADA MASYARAKAT LAMPUNG Martiara, Rina
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.v1i2.57

Abstract

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. Keywords: Cangget dance, cultural identity, society.
The Existence of Female Dancers in the Development of Dolalak Art in Purworejo Central Java Yulianti, Eni; Martiara, Rina; Lies Apriani, Winarsi
Jurnal Seni Tari Vol. 13 No. 2 (2024)
Publisher : Universitas Negeri Semarang

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Abstract

Dolalak is a traditional dance that appeared and developed in Purworejo, Central Java. In the beginning of its appearance, this dance was performed by men. In the 1970s, the government intervened to promote the art as a regional asset. Soepanto Regent's initiative, which encouraged women to be able to dance Dolalak, received positive support from society. Dolalak is considered more attractive and has greater marketing potential by women. So, 1970 became the first stage of Dolalak's rapid development. At the same time with the presence of Dolalak Putri or Female Dancer of Dolalak, the male Dolalak dancer began to be less desirable and even forgotten. This research will analyze the existence of female dancers in Dolalak art with a modern Sociology approach using the theory of Phenomenology from Peter L. Berger.  This analysis is based on Berger's formulation of the interrelationship between objective social reality and subjective knowledge based on reality and social interaction in daily life. The existence of Ambarwati's case as a Dolalak preservationist figure with high popularity with her predicate as "Ratu Dolalak". Ambarwati's popularity as a Dolalak dancer is not only utilized on her body but also accompanied by experience and knowledge from art education that makes her role in the performance more interesting. This makes Ambarwati's presence idolized.
Analisis Biosemiotik dan Etnokoreologi dalam Zapin Selatpanjang pada Motif Langkah Asas Jalan Irawan, Pebri; Martiara, Rina; Setyastuti, Setyastuti
Joged Vol 23, No 1 (2024): APRIL 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i1.12741

Abstract

RINGKASANPenelitian ini diawali dengan perspektif biosemiotik karena keterkaitan budaya leluhur penulis dengan tanda alam yang kuat dan ekspresi budaya yang muncul dari alam. Kebudayaan tradisional dibangun dengan mempertimbangkan kondisi alam serta adaptasi atasnya. Pengetahuan terarsip dalam kesenian tradisi termasuk pada budaya gerak yang dalam analisis ini adalah tarian Zapin Selatpanjang pada motif langkah Asas Jalan. Motif tersebut kemudian dianalisis dengan teori biosemiotik untuk memahami makna sinyal alam dalam gerakan. Etnokoreologi juga digunakan untuk mengidentifikasi konteks budaya di balik gerakan tarian. Studi kasus melihat adaptasi manusia terhadap alam melalui motif tari Zapin Selatpanjang, yang menghubungkan masyarakat dengan laut. Biosemiotika menyoroti pembentukan makna dalam interaksi organisme dengan lingkungan. Tarian Zapin Selatpanjang merefleksikan adaptasi tubuh masyarakat terhadap lingkungan geografis uniknya. Konsep biosemiotik, koreologi, dan etnokoreologi digunakan untuk menganalisis integrasi pengetahuan lokal tentang alam dalam gerakan tarian tradisional sebagai arsip pengetahuan alam.ABSTRACTThis research begins with a biosemiotic perspective due to the strong connection of the author's ancestral culture with natural signs and cultural expressions emerging from nature. Traditional culture is constructed by considering natural conditions and adaptations to them. Archived knowledge in traditional arts, including in the realm of movement culture analyzed in this study, focuses on the Zapin Selatpanjang dance with its "Asas Jalan" (Basic Steps) motif. This motif is then analyzed using biosemiotic theory to understand the meaning of natural signals in movement. Ethnochoreology is also employed to identify the cultural context behind dance movements. Case studies examine human adaptation to nature through motifs in the Zapin Selatpanjang dance, which connects communities with the sea. Biosemiotics highlights the formation of meaning in organism-environment interactions. The Zapin Selatpanjang dance reflects the community's bodily adaptation to its unique geographic environment. Concepts of biosemiotics, choreology, and ethnochoreology are used to analyze the integration of local knowledge about nature in traditional dance movements as a repository of environmental knowledge.
Co-Authors ANISA FEBRIANA Budi Astuti Budi Astuti Clara Ayu Gita Romantri Riyanto Eni Yulianti Gabriella Mening Irawan, Pebri Kurnia Rahmadhani Lies Apriani, Winarsi Manganti, Galih Suci Mariska, Fransiska Ria Ranty Muwa Pratama Sella Tri Komala Setyastuti, Setyastuti Tutik Winarti Widya Yuli Sartika