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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 TOFEDU: The Future of Education Journal IDEA: Jurnal Seni Pertunjukan Jurnal Riset Multidisiplin Edukasi Jurnal Seni Tari
Rina Martiara
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Mathematics Other

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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.
Children’s Bodily Expression and Learning Interaction Mediated by “Tabola Bale” Indrahastuti, Tri; Martiara, Rina; Arifin, Syaiful
The Future of Education Journal Vol 4 No 9 (2025): #1
Publisher : Lembaga Penerbitan dan Publikasi Ilmiah Yayasan Pendidikan Tumpuan Bangsa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61445/tofedu.v4i9.1309

Abstract

This study aims to examine children’s bodily expression and learning engagement through the traditional song “Tabola Bale” as observed in TikTok and Instagram videos. Using a qualitative descriptive approach, the study employs video observation as the primary data source, supported by a literature review on embodied learning in elementary education. Publicly accessible videos featuring children’s responses to the song were selected purposively and analyzed thematically. The findings indicate that children display spontaneous bodily movements, rhythmic coordination, creative variations of movement, and positive affective expressions while engaging with the song. These bodily responses reflect active learning engagement that integrates motor, emotional, and social dimensions. The study also reveals that bodily expression serves as a medium of interaction, enabling meaningful participation through movement. The findings suggest that traditional songs hold pedagogical potential as embodied learning media in both classroom and digital learning contexts. This study contributes to elementary education by highlighting the relevance of culturally grounded songs in fostering active and meaningful learning experiences.
Malay Dance: Expression on Maritime Society Martiara, Rina
Dance and Theatre Review Vol 1, No 1: May 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1720.022 KB) | DOI: 10.24821/dtr.v1i1.2251

Abstract

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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1164.326 KB) | DOI: 10.24821/dtr.v3i2.4419

Abstract

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
Co-Authors ANISA FEBRIANA Arifin, Syaiful Budi Astuti Budi Astuti Clara Ayu Gita Romantri Riyanto Eni Yulianti Gabriella Mening Irawan, Pebri Komala, Sella Tri Kurnia Rahmadhani Lies Apriani, Winarsi Manganti, Galih Suci Mariska, Fransiska Ria Ranty Muwa Pratama Setyastuti, Setyastuti Supriyanti Supriyanti Tri Indrahastuti Tutik Winarti Widya Yuli Sartika