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Cultural Meaning and Values of the Beriuk Tinjal Dance at the Rengganis Art Studio Balqis, Lale Alia; Malarsih, Malarsih; Sinaga, Syahrul Syah
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 26, No 2 (2024): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v26i2.4957

The Beriuk Tinjal dance is a traditional performing art from Lombok, West Nusa Tenggara, preserved through the Rengganis Art Studio. This study aims to explore the philosophical meanings and cultural values embedded in the Beriuk Tinjal dance and to assess the strategic role of the art studio in sustaining this heritage amidst globalization. Using a qualitative approach with methods including observation, interviews, and literature review, this research uncovers that the dance embodies the Sasak community's core values, such as unity, harmony, and respect for ancestors. Each dance movement holds symbolic meaning, reflecting the cycles of human life, environmental stewardship, and spiritual devotion. Moreover, the Rengganis Art Studio acts as a guardian of tradition by integrating moral education and cultural identity into its training programs for younger generations. This study highlights the dance's dual role as an aesthetic and educational medium, providing insights into the interplay between art and cultural sustainability. The findings underscore the importance of community-based initiatives in preserving traditional arts while adapting to modern challenges. These results contribute to broader discussions on cultural preservation and the revitalization of intangible heritage in contemporary society

ANALISIS MAKNA TOPENG SEBAGAI PROPERTI TARI PADA PERTUNJUKAN BEDUG KEROK Fajri, Samsul; Malarsih, Malarsih; Hartono, Hartono
Joged Vol 23, No 2 (2024): OKTOBER 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v23i2.14164

RINGKASANInstrumen atau objek pelengkap yang disebut properti inilah yang memberi makna yang dalam pada sebuah pertunjukan tari. Untuk mengetahui dan menganalisis makna topeng yang digunakan sebagai penyangga tari dalam pertunjukan Bedug Kerok di Kampung Seni Yudha Asri, Desa Mander, Kecamatan Bandung, dan Kabupaten Serang Banten merupakan tujuan dari penelitian ini. Pendekatan semiotik berdasarkan teori Roland Barthes digunakan untuk mendefinisikan sinyal dan makna dalam metode penelitian kualitatif deskriptif. Di sanggar seni Yudha, pengumpulan data dilakukan dengan berbagai metode, antara lain observasi, wawancara, dokumentasi, dan studi kepustakaan. Analisis makna dalam penelitian ini didasarkan pada pendekatan semiotika Roland Barthes yang membedakan antara makna denotasi, konotasi, dan mitos. Hasil dari penelitian ini berupa gambaran menyeluruh tentang topeng reformasi, salah satu properti tari yang digunakan dalam pertunjukan Bedug Kerok, dan maknanya. ABSTRACTA complementary instrument or object called property is what gives a dance performance its deep meaning. Finding out and analyzing the significance of a masks utilized as a dance prop in the Bedug Kerok show in the Yudha Asri Art Village, Mander Village, Bandung District, and Serang Banten Regency was the goal of the research. A semiotic approach based on Roland Barthes' theory is utilized to define signals and meanings in the descriptive qualitative research method. In the Yudha art studio, data were gathered using a variety of methods, including observation, interviews, documentation, and library research. The analysis of meaning in this study is based on Roland Barthes' semiotic approach, which distinguishes between denotation, connotation, and myth meanings. The outcome of this investigation takes the shape of a thorough description of the reform mask, a dance property that is used in the Bedug Kerok performance, and its significance.

Learning Rangguk Dance at Puti Sekanti Cultural Studio in the Context of cultural participation Frizia Nuary Novalia, Frizia Nuary Novalia; Malarsih Malarsih; Eko Sugiarto
Catharsis Vol. 14 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v14i1.24453

Culture develops and is standardized in tradition in the form of art. art has a strong cultural philosophy that reflects the identity of the local community. One of the arts is rangguk dance which has its own uniqueness and has meaning in each form. The phenomenon that occurs at this time the development of rangguk dance is less attractive through this research the problem focused on how the process of learning rangguk dance to maintain local culture and the participation of the role of the studio through the learning process. The method used is qualitative method with data collection techniques of interviews, observation and documentation. The results of research on the context of cultural participation of rangguk dance in the puti sekanti cultural studio, there is a teaching and learning process through the non-formal education system in learning cultural traditions in the puti sekanti studio. The role of the puti sekanti sangar in preserving rangguk dance through a structured learning program in which there is a final evaluation process by demonstrating the dance, students are made in groups to measure understanding of the material about rangguk dance. Thus, the puti sekanti cultural studio instills the essence of their role in carrying out the obligation to love, inherit and preserve traditional dance, this reflects the puti sekanti studio in maintaining cultural heritage

Simbolisme dan Makna dalam Syair 'Atas Pisang' pada Tari Dolalak: Pendekatan Semiotika Barthes Maria Magdalena Cita Hapsari; Adhitya Darmantho; malarsih malarsih; Syahrul Syah Sinaga
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 4 (2024): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v1i4.174

Di antara banyaknya syair yang digunakan dalam Tari Dolalak, syair "Atas Pisang" memiliki posisi yang cukup unik. Syair ini sering dilantunkan pada akhir pertunjukan, menandakan penutup yang khidmat dan penuh pesan. Penelitian ini bertujuan mengkaji simbolisme dan makna dalam syair ‘Atas Pisang’ pada Tari Dolalak. Penelitian ini merupakan penelitian kualitatif interpretatif dengan pendekatan semiotika Roland Barthes mengenai makna denotasi dan konotasi. Hasil penelitian menunjukan bahwa syair ‘Atas Pisang’ pada tari Dolalak, melalui simbolisme dan metaforanya, menyampaikan berbagai nasihat hidup yang relevan dan bijaksana. Keseimbangan antara hasil yang terlihat dan esensi yang mendasari, harapan dan pemulihan dari kesulitan, pentingnya tindakan dalam mengejar keinginan, penghargaan terhadap masa lalu dan pengalaman, serta kebijaksanaan dalam hubungan keluarga adalah pesan-pesan utama yang diungkapkan. Syair ‘Atas Pisang’ mengajarkan bahwa hidup yang seimbang, penuh harapan, aktif, menghargai masa lalu, dan bijaksana dalam hubungan keluarga adalah kunci untuk mencapai kehidupan yang harmonis dan bermakna.

Embodied pedagogy and ecological ethics: Internalising environmental values through the Pakarena Anida dance in South Sulawesi Pramana, Andi Dwi Resqi; Astuti, Tri Marhaeni Pudji; Malarsih, Malarsih; Sinaga, Syahrul Syah
Journal of Environment and Sustainability Education Vol. 3 No. 3 (2025)
Publisher : Education and Development Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62672/joease.v3i3.122

Global ecological crises demand sustainability education that integrates cultural and ecological values beyond formal and Western-oriented frameworks. Traditional performing arts offer holistic pedagogical resources through embodied, symbolic, and participatory practices, yet their potential remains underexplored in sustainability discourses. In Indonesia, the Pakarena Anida Dance of South Sulawesi exemplifies how ritual gestures, ornate costumes, and narrative symbolism function as cultural texts transmitting ecological ethics and community values. However, limited scholarship has examined how female dancers operate as custodians of both cultural heritage and environmental responsibility. This study employs a descriptive qualitative design, drawing on anthropology, semiotics, and cultural studies to analyse the symbolic representation of female dancers in South Sulawesi traditional performances. Multi-sited fieldwork was conducted in Makassar City, Wajo Regency, and Toraja Regency, involving 29 purposively selected informants—including cultural leaders, senior dancers, troupe members, and audiences. Data were collected through performance observation, semi-structured interviews, and documentation of manuscripts and visual records. Analysis followed Miles and Huberman’s interactive model, supported by thematic and interpretive strategies. Findings reveal three key insights. First, Pakarena Anida embodies conservation values through symbolic movements—such as bowing and circular formations—that signify humility and ecological balance. Second, the dance functions as informal education, with rehearsals and performances serving as “schools without walls” where intergenerational ecological and moral wisdom is transmitted. Third, costumes, music, and ritualised gestures operate as cultural codes that internalise local values, reinforcing identity, humility, and responsibility across generations.

Embodied pedagogy and ecological ethics: Internalising environmental values through the Pakarena Anida dance in South Sulawesi Pramana, Andi Dwi Resqi; Astuti, Tri Marhaeni Pudji; Malarsih, Malarsih; Sinaga, Syahrul Syah
Journal of Environment and Sustainability Education Vol. 3 No. 3 (2025)
Publisher : Education and Development Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62672/joease.v3i3.122

Global ecological crises demand sustainability education that integrates cultural and ecological values beyond formal and Western-oriented frameworks. Traditional performing arts offer holistic pedagogical resources through embodied, symbolic, and participatory practices, yet their potential remains underexplored in sustainability discourses. In Indonesia, the Pakarena Anida Dance of South Sulawesi exemplifies how ritual gestures, ornate costumes, and narrative symbolism function as cultural texts transmitting ecological ethics and community values. However, limited scholarship has examined how female dancers operate as custodians of both cultural heritage and environmental responsibility. This study employs a descriptive qualitative design, drawing on anthropology, semiotics, and cultural studies to analyse the symbolic representation of female dancers in South Sulawesi traditional performances. Multi-sited fieldwork was conducted in Makassar City, Wajo Regency, and Toraja Regency, involving 29 purposively selected informantsâ€”including cultural leaders, senior dancers, troupe members, and audiences. Data were collected through performance observation, semi-structured interviews, and documentation of manuscripts and visual records. Analysis followed Miles and Hubermanâ€™s interactive model, supported by thematic and interpretive strategies. Findings reveal three key insights. First, Pakarena Anida embodies conservation values through symbolic movementsâ€”such as bowing and circular formationsâ€”that signify humility and ecological balance. Second, the dance functions as informal education, with rehearsals and performances serving as â€œschools without wallsâ€ where intergenerational ecological and moral wisdom is transmitted. Third, costumes, music, and ritualised gestures operate as cultural codes that internalise local values, reinforcing identity, humility, and responsibility across generations.

REVIVING KETOPRAK: THE ROLE OF THE YOGYAKARTA YOUTH SINEPRAK COMMUNITY IN CULTURAL PRESERVATION Amanatillah, Dwi Nisa'; Jazuli, Muhammad; malarsih, Malarsih
Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Vol 24 No 01 (2024): Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan
Publisher : LP2M UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/dinamika.2024.24.01.35-52

This research uses a case study approach to explore the role of the Sineprak community in preserving and developing the ketoprak performing arts in the modern era. The main focus of this research is on the intensive training process of actors and directors, which includes technical aspects and deepens the script and interprets the role. The COVID-19 pandemic forced Sineprak to switch to digital platforms, especially YouTube, which has attracted thousands of followers. However, after Bondan Nusantara's death, the frequency of performances decreased significantly. The community-based education process at Sineprak contains Javanese cultural values such as courtesy, etiquette and cooperation, which help shape the character of the younger generation. Innovations in the presentation of modern ketoprak, including combining elements of other performing arts and modern technology, have succeeded in attracting the interest of today's audiences. Documentation and publication via social media play an important role in expanding audience reach.

REVIVING KETOPRAK: THE ROLE OF THE YOGYAKARTA YOUTH SINEPRAK COMMUNITY IN CULTURAL PRESERVATION Amanatillah, Dwi Nisa'; Jazuli, Muhammad; malarsih, Malarsih
Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan Vol 24 No 01 (2024): Dinamika Penelitian: Media Komunikasi Penelitian Sosial Keagamaan
Publisher : LP2M UIN Sayyid Ali Rahmatullah Tulungagung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21274/dinamika.2024.24.01.35-52

This research uses a case study approach to explore the role of the Sineprak community in preserving and developing the ketoprak performing arts in the modern era. The main focus of this research is on the intensive training process of actors and directors, which includes technical aspects and deepens the script and interprets the role. The COVID-19 pandemic forced Sineprak to switch to digital platforms, especially YouTube, which has attracted thousands of followers. However, after Bondan Nusantara's death, the frequency of performances decreased significantly. The community-based education process at Sineprak contains Javanese cultural values such as courtesy, etiquette and cooperation, which help shape the character of the younger generation. Innovations in the presentation of modern ketoprak, including combining elements of other performing arts and modern technology, have succeeded in attracting the interest of today's audiences. Documentation and publication via social media play an important role in expanding audience reach.

Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Falöwa di Kecamatan Idanögawo Harefa, Mega Suryawan; Malarsih, Malarsih; Nugrahani, Rahina
Ideas: Jurnal Pendidikan, Sosial dan Budaya Vol 10 No 1 (2024): Ideas: Pendidikan, Sosial, dan Budaya (Februari)
Publisher : Ideas Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32884/ideas.v10i1.1548

The fanari niowalu dance is a traditional dance which is one of the sacred dances in wedding customs which is only danced by niowalu at the falöwa which symbolizes that Niowalu is ready to get married and welcomes the extended family of the marafule (groom), guests and the community who come was at the falöwa event. The purpose of writing this article is to analyze the form of presentation of the fanari niowalu dance using qualitative research methods with an ethnochoreological approach that describes existing problems. This dance is danced at weddings where the dance is started by the mothers of the bride and groom and then continued by the two girls and niowalu to dance together with traditional Nias musical instruments consisting of göndra, garamba, and faritia.

Dance Training Methods at Bangkit Sekar Budaya Cilacap Art Studio Khakimah, Putri; Malarsih, Malarsih
Jurnal Seni Tari Vol. 13 No. 1 (2024)
Publisher : Universitas Negeri Semarang

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

Training is a teaching and learning activity that has the aim of improving a person's understanding, skills, and expertise in a particular field. This research aims to analyze the training methods applied and the factors that influence dance practice at Sanggar Bangkit Sekar Budaya (BSB). Training methods are closely related to training activities,therefore they are very important to use. This research uses descriptive qualitative methods. The research was conducted at Sanggar Bangkit Sekar Budaya Cilacap. The data collection techniques used were observation, interviews, and documentation. The data analysis techniques used are data reduction, presenting data, and drawing conclusions. The data validity techniques used are source triangulation and methodology triangulation. The results of this research show that several dance training methods are applied as follows, the methods used to convey theory are lectures, questions, and answers, while the methods used to improve skills in training are demonstrations, questions and answers, and drills. , assignments, peer tutoring, and outdoor study. Factors that influence dance training in studios consist of supporting factors, namely the instructor's family, parents, environment, students' physiological factors, desires, determination, talent, students' self-confidence, etc. Inhibiting factors include students not being serious, time conflicts, student fatigue, lack of discipline, progress not following the vision and mission, and location of the art studio.

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