Raja Alfirafindra
Institut Seni Indonesia Yogyakarta

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The philosophical values of Rejang Dayung as an ancient dance inherited from Pura Luhur Batukau, Tabanan, Bali I Wayan Dana; Raja Alfirafindra; Agustin Anggraeni
Gelar : Jurnal Seni Budaya Vol. 21 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i2.5355

Abstract

Rejang Dayung is an ancient dance inherited from the ancestors, serving a ritualistic function at Pura Luhur Batukau. It is exclusively performed in Jaba Tengah or the media mandala (living room) during the Sinineban (closing) ceremony at Pura Luhur Batukau. Noteworthy for its straightforward expressions in movements, floor patterns, costumes, and accompaniment, this dance merits scholarly investigation. The objectives of this study are to elucidate the philosophical value of Rejang Dayung performance as an ancient dance inherited from Pura Luhur Batukau, examine the correlation between the philosophical value of Rejang Dayung and the societal beliefs of Pura Luhur Batukau, and expound upon the significance of Rejang Dayung's philosophical value based on the concepts of Satyam (truth), Shivam (holiness), and Sundaram (beauty). The authors employed a qualitative method, incorporating field observation and interview techniques to gather data and ascertain the initial presentation of Rejang Dayung. The study's findings unequivocally reveal the philosophical values of Rejang Dayung and the embodiment of the Tri Hita Karana teachings (Balinese concepts for creating harmony), which encompass harmonious relationships between humans and God, humans and fellow humans, and humans and the universe. The philosophical value of Rejang Dayung signifies a profound surrender to the magnificence of Ida Sanghyang Widhi Wasa, God the Greatest, manifested through the collective choreography in pairs, symbolizing the convergence of Shiva-Parwati energy. This convergence, perceived by the people of Pura Luhur Batukau as the guardian of harmony in the universe and its constituents, underscores the dance's cultural and spiritual significance.
SHANG: KOREOGRAFI YANG TERINSPIRASI DARI PROBLEMATIKA SAHANG (LADA) DI BANGKA Rezika Mariandy Karim; Raja Alfirafindra; Setyastuti Setyastuti
Joged Vol 25, No 1 (2026): APRIL 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/joged.v25i1.19864

Abstract

ABSTRAKShang merupakan karya tari video yang berangkat dari problematika pergeseran popularitas sahang atau lada di pulau Bangka Belitung dengan hadirnya tambang timah. Karya tari video ini menyampaikan tentang keterpurukan yang terjadi pada popularitas sahang dan juga kondisi alam Bangka yang semakin rusak. Tata panggung berupa pasir, sahang, junjung, daun kering, dan juga daun hijau menjadi bagian artistik pendukung karya tari video Shang.Motif gerak ragam dua dan ragam tiga dari tari Kedidi yang merupakan tari tradisional di daerah Bangka menjadi dasar pijakan dengan pengembangan aksi gerak dan disajikan dalam bentuk koreografi tunggal. Pemilihan musik tari dengan menampilkan iringan dambus, vokal daek, dan elemen suara tambang timah serta air menjadi penguat penyampaian alur dramatik.Hasil akhir dari proses produksi Shang berupa dance film yang menggunakan tiga sudut pandang pengambilan video di antaranya follow, top angle, dan high angle, dan juga tiga teknik pengambilan video di antaranya long shot, one shot one kill, dan juga insert.ABSTRACTShang is a video dance work that departs from the problem of shifting the popularity of sahang or pepper on the island of Bangka Belitung with the presence of a tin mine. This video dance work conveys about the downturn that has occurred in the popularity of sahang and also the natural condition of Bangka which is increasingly damaged. The stage arrangement in the form of sand, sahang, jujung, dry leaves, and also green leaves became an artistic part of the supporting Shang's video dance work. The motifs of the two and three variations of the Kedidi dance, which is a traditional dance in the Bangka area, are the basis for developing the motion of the Shang video dance work combined with modern dance techniques, namely the body wave technique and vibration, presented in the form of a single choreography. The choice of dance music featuring dambus accompaniment, daek vocals, and elements of the sound of tin mines and water strengthens the delivery of the dramatic flow. The final result of Shang's production process is a dance film that uses three video shooting points of view including follow, top angle, and high angle, as well as three video shooting techniques including long shot, one shot one kill, and also insert.