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All Journal Acintya Greget Hanifiya: Jurnal Studi Agama-Agama Jurnal Kajian Seni Gesture: Jurnal Seni Tari Paradigma: Jurnal Kajian Budaya
R.M. Pramutomo
Fakultas Seni Pertunjukan Institut Seni Indonesia, Surakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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AESTHETIC DIMENSION OF BEDHAYA ANGLIRMENDHUNG DANCE: QUALITY OF DANCER STUDY BASED ON SERAT KRIDHWAYANGGA Wibowo, Angga Febri; Pramutomo, R.M.; Sriyadi, Sriyadi
Jurnal Kajian Seni Vol 10, No 1 (2023): Jurnal Kajian Seni Vol 10 No 1 November 2023
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.86905

Abstract

Dancers play a significant role in determining the success of a dance performance. The dancer's body serves as a medium of expression to convey the choreographer's ideas and concepts, which can be enjoyed and critiqued by the audience. Therefore, dancers are expected to possess the skill to implement forms and techniques of movement. In Javanese dance, there are various aesthetic concepts related to the quality of the dancer as a performer. The Serat Kridhwayangga expresses aesthetic concepts related to the qualification of character types and movement styles used. This article aims to present the aesthetic dimension of Bedhaya Anglirmendhung dance at Pura Mangkunegaran based on the perspective of the Serat Kridhwayangga. Through this, it is hoped to demonstrate the quality of the dancer as one of the aesthetic standards in presenting Bedhaya Anglirmendhung dance. As a cultural heritage, Bedhaya Anglirmendhung naturally possesses high aesthetic standards, one of which is the dimension of the dancer as a performer. This research adopts an ethnochoreological approach with qualitative research design. Data collection techniques mainly involve literature review. The research findings indicate that Bedhaya Anglirmendhung dance, based on the Serat Kridhwayangga, belongs to the wanodya character type with the patrap beksa pucang kanginan. The wanodya character type has normative rules related to the positions and forms of movements for the head, arms, torso, and legs. Therefore, in order to achieve aesthetic quality in the presentation of Bedhaya Anglirmendhung dance, dancers must possess the skills necessary to implement these positions and forms of movements.
PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
A Study of Dakwah Pattern on Dramatic Text and Its Transformation From Serat Menak Lare Literature to the Choreography Text of Srimpi Dance Pramutomo, R.M.; Widyastutieningrum, Sri Rochana; Kuncoro, Jonet Sri
Hanifiya: Jurnal Studi Agama-Agama Vol 3, No 1 (2020): Hanifiya: Jurnal Studi Agama-Agama
Publisher : Program Studi Studi Agama-Agama Pascasarjana UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (621.124 KB) | DOI: 10.15575/hanifiya.v3i1.8031

Abstract

The Srimpi dance is a Javanese dance which is presented by four female dancers. Usually, the Srimpi dancers are four female teenagers. The dance itself is based on literature. On the Srimpi Menak lare variation, the dance is performed by four child dancers, specifically by two boys and two girls. The Srimpi Menak Lare dance was inspired from the childhood tale of Tiyang Agung Jayengrana or Amir Ambyah, one of the uncles of Prophet Muhammad on a play by R.Ng. Yosodipuro I. The dramatical transformation in said play, when choreographically visualized, becomes a topic of discussion. This article will examines a study of dance elements which is pattered by da’wah in Islamic point of view. Based on said discussion, the creation of Srimpi Menak Lare dance is a research-based dance creation from the idea forming, exploration, concept building, and the forming of the dance itself. The methodological application in this artistic research refers to the analitycal form of the innovative choreography of the Srimpi Menak Lare dance. Through this specific term of da’wah pattern this article applied an exploration of elements of dance creation related to the contens of da’wah in Islamic values.
COSTUME DESIGN AND SOCIAL STATUS VISUALIZATION IN JAVANESE DANCE AT PURA MANGKUNEGARAN Sriyadi, Sriyadi -; Pramutomo, R.M.; Sari, Yoni Wulan; Elvina, Luh
Paradigma: Jurnal Kajian Budaya Vol. 14, No. 3
Publisher : UI Scholars Hub

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The design of costumes holds a crucial role in visualizing the social status of characters in Javanese dance. By employing symbolic systems, costume design conveys this status to the audience. This study investigates the relationship between costume design and the depiction of social status in Javanese dance at Pura Mangkunegaran. Utilizing a qualitative methodology with an ethnocoreological approach, the research draws on a literature review as its primary data source. This review involves analyzing various documents, photographs, and videos. The findings indicate that accessories and attributes within costume design are integral to the symbolic system that represents social status. As an ethnic dance, the costume design in Mangkunegaran dance embodies the ethical and ethno-aesthetic values of the community, reflecting the life, worldview, and cultural expressions of the Javanese people. These values may evolve over time as the community’s perspectives shift.
MULTIKULTURALISME DALAM BUDAYA SENI PERTUNJUKAN TARI DI YOGYAKARTA Pramutomo, R.M.
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1834.788 KB) | DOI: 10.33153/acy.v1i2.61

Abstract

This article will strive a kind of exploration studies arround multiculturalism and its impact to the dance and performance appearance in Yogyakarta dance tradition. Multiculturalism and its shaping have several elements which support the new kind of creative process. In the case of Yogyakarta dance tradition, it regards to the extra-tolerance sense of the aesthetic authority. Based on these evidences, this article will explore a study of traditional sources from the dance naration texts collected by the palace of Yogyakarta. In fact, it has been strongly emphased on the archi val studies and explanation process through the heuristic explanation. On the other hand, this article would like to examine a relationship between a sense of extra-tolerance inside the dance tradition itself and the creative requirement belong to the new kind ofprocess itself With an arts histori cal approach, this article presents an explorative study of the multiculturalism as ingredients which improve the development of new mainstream of creative process in the field of dance tradition fluently. Keywords: multiculturalism, extra-tolerance, and creative process.
TARI NHAY LARA RUDA: SEBUAH REFLEKSI HUMANISME PEREMPUAN TIONGHOA MUSLIM Latifah, Salsabila Alfi; Pramutomo, R.M.
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.v25i1.6771

Abstract

This study explores the creative process behind the Nhay Lara Ruda dance by Salsabila Alfi Latifah, focusing on six fundamental components: (1) source materials, (2) personnel, (3) facilities, (4) tools and equipment, (5) influencing factors, and (6) creative considerations. The analysis of the dance form is divided into two key aspects: (a) the physical form—comprising elements that are perceptible through the five senses, such as movement, music, props, and floor patterns; and (b) the expressive form—which encompasses aesthetic and symbolic meanings. This analytical framework is informed by Rustopo’s perspective, as cited in Sejarah Tari Gambyong: Seni Rakyat menuju Istana, which conceptualizes artistic form as the embodiment of an artist’s internal experiences, made manifest through tangible media. It emphasizes the dynamic interplay between form (wadah) and content (isi). The notion of garap (creative composition) follows Rahayu Supanggah’s theoretical model, which underscores the synthesis of technical execution and artistic intuition. Employing a qualitative research methodology, the study utilizes a combination of performance analysis, literature review, in-depth interviews with selected informants, and direct observation of the Nhay Lara Ruda choreography. The findings indicate that the dance originates from an aesthetic vision and symbolically portrays the character and life journey of Nhay Lara Ruda. The work serves not only as a form of artistic entertainment but also as a symbolic narrative of perseverance and the human pursuit of happiness.
MULTIKULTURALISME DALAM BUDAYA SENI PERTUNJUKAN TARI DI YOGYAKARTA Pramutomo, R.M.
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.v1i2.61

Abstract

This article will strive a kind of exploration studies arround multiculturalism and its impact to the dance and performance appearance in Yogyakarta dance tradition. Multiculturalism and its shaping have several elements which support the new kind of creative process. In the case of Yogyakarta dance tradition, it regards to the extra-tolerance sense of the aesthetic authority. Based on these evidences, this article will explore a study of traditional sources from the dance naration texts collected by the palace of Yogyakarta. In fact, it has been strongly emphased on the archi val studies and explanation process through the heuristic explanation. On the other hand, this article would like to examine a relationship between a sense of extra-tolerance inside the dance tradition itself and the creative requirement belong to the new kind ofprocess itself With an arts histori cal approach, this article presents an explorative study of the multiculturalism as ingredients which improve the development of new mainstream of creative process in the field of dance tradition fluently. Keywords: multiculturalism, extra-tolerance, and creative process.
PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
Kreativitas Nyoman Mulyawan dalam Tari Bala di Kabupaten Lampung Tengah Handayani, Ketut Putri; Pramutomo, R.M.; Dewi, Maharani Lutvinda
Gesture: Jurnal Seni Tari Vol. 14 No. 2 (2025): Gesture: Jurnal Seni Tari (October)
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gjst.v14i2.67813

Abstract

This research reveals the Creativity of Nyoman Mulyawan as the creator of Bala Dance in Central Lampung Regency. Bala dance is one of the works created by Nyoman Mulyawan by collaborating Lampung dance and Balinese dance. The purpose of this research is to reveal the problems: (1) How is the Form of Bala Dance in Central Lampung Regency? (2) How is Nyoman Mulyawan's Creativity in Bala Dance in Central Lampung Regency? The theoretical basis used is the theory of form and choreography in the book Basic Aspects of Group Choreography. This research uses a qualitative method using a choreographic approach. This research stage uses data collection by means of observation, interviews, and literature study. Then all the data is put together and then analyzed, aiming to find out the creativity of bala dance and the results of this research will be described as descriptive text. The results showed that the form of bala dance is a group dance that describes the warrior. In bala dance there are elements that include dance movements, dance music, dance themes, dance makeup, dance clothes, dance types, number of dancers, and dance properties. This creativity is shown from the choreographer, starting from the creation process until the formation of the bala dance.
A Study of Dakwah Pattern on Dramatic Text and Its Transformation From Serat Menak Lare Literature to the Choreography Text of Srimpi Dance Pramutomo, R.M.; Widyastutieningrum, Sri Rochana; Kuncoro, Jonet Sri
Hanifiya: Jurnal Studi Agama-Agama Vol. 3 No. 1 (2020): Hanifiya: Jurnal Studi Agama-Agama
Publisher : Program Studi Studi Agama-Agama Pascasarjana UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/hanifiya.v3i1.8031

Abstract

The Srimpi dance is a Javanese dance which is presented by four female dancers. Usually, the Srimpi dancers are four female teenagers. The dance itself is based on literature. On the Srimpi Menak lare variation, the dance is performed by four child dancers, specifically by two boys and two girls. The Srimpi Menak Lare dance was inspired from the childhood tale of Tiyang Agung Jayengrana or Amir Ambyah, one of the uncles of Prophet Muhammad on a play by R.Ng. Yosodipuro I. The dramatical transformation in said play, when choreographically visualized, becomes a topic of discussion. This article will examines a study of dance elements which is pattered by da’wah in Islamic point of view. Based on said discussion, the creation of Srimpi Menak Lare dance is a research-based dance creation from the idea forming, exploration, concept building, and the forming of the dance itself. The methodological application in this artistic research refers to the analitycal form of the innovative choreography of the Srimpi Menak Lare dance. Through this specific term of da’wah pattern this article applied an exploration of elements of dance creation related to the contens of da’wah in Islamic values.
Co-Authors Dewi, Maharani Lutvinda Elvina, Luh Handayani, Ketut Putri Kuncoro, Jonet Sri Latifah, Salsabila Alfi S Sriyadi Sari, Yoni Wulan Sugiarti, Yeni Wibowo, Angga Febri Widyastutieningrum, Sri Rochana