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All Journal Jurnal Seni Tari Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Ranah Research : Journal of Multidisciplinary Research and Development
Eny Kusumastuti
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The Form and Development of Jaran Kepang Dance in the Langen Budi Sedyo Utomo Association from 1996-2018 Lukluil Maknun Al-izza; Eny Kusumastuti
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.73448

Abstract

The Langen Budi Sedyo Utomo Association is located in Sombron Hamlet, Tlompakan Village, Tuntang District, Semarang Regency. The Langen Budi Sedyo Utomo Association in the course of the Jaran Kepang dance experienced development after the entry of the Songo dance in 1996. The problem that arose was the existence of external obstacles in the form of a lack of support from the people around regarding the views of dance art and maintenance of inventory of costumes, accompaniment or gamelan, and others. This study aims to analyze and describe the development of the form of the Jaran Kepang Dance at the Langen Budi Sedyo Utomo Association from 1996-2018. As well as the factors that influenced the development of the Jaran Kepang Dance form at the Langen Budi Sedyo Utomo Association from 1996-2018. The method used in this study is a qualitative research method that produces descriptive data. The research method used a qualitative method. Data collection techniques in this study used three techniques, namely observation techniques, interview techniques and documentation techniques. Interviews in this study were conducted 4 times with different informants. Based on the results of research conducted at the Langen Budi Sedyo Utomo community and the results of the discussion in chapter four, it can be concluded that the Jaran Kepang dance in the Langen Budi Sedyo Utomo community experienced development after the entry of the Songo dance, developments took place from year to year. From 1996-2013 the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community still used movements that resembled Surakarta style dance movements, there was one dancer as the leader, then in 2013-2016, the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community began to experience a variety of developments. movement and mining 1 Manggolo Yudho and 3 lead soldiers. In 2016-2018 the development of dance moves has been detailed because the movements have been updated by trainers who are more professional in their field. Developments can also be seen in costumes, makeup, and accompaniment.
Bentuk Koreografi Tari Golek Gonjing Miring Karya Dona Dhian Ginanjar S.Sn. Grace Stella Amoreta Lomi; Eny Kusumastuti
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.6026

Abstract

The Golek Gonjing Miring Dance is one of the classical dance works created by Dona Dhian Ginanjar in 2019. This work is interesting to study because it combines two classical Javanese dance styles, namely the soft and feminine Surakarta style and the firm and masculine Yogyakarta style, as a symbol of the duality of women's nature. The theme of this dance tells the story of the angels who came down from heaven to have fun on earth, which is visualized through smooth and expressive choreography with a variety of traditional movements. The accompanying music uses Gendhing Ladrang Gonjing Miring Laras Pelog Nem, which supports the mystical and graceful atmosphere in the performance. Supporting aspects such as make-up, costume design, stage design, and lighting design also strengthen the delivery of artistic and symbolic meaning in this work. This study aims to describe the choreographic form of the Golek Gonjing Miring Dance, musical structure, and supporting visual elements that form an aesthetic unity in the performance. The results of the study show that the Golek Gonjing Miring Dance is not only a medium for preserving Javanese classical dance culture, but also a form of innovation that represents female characters in a more complex way.
Strategi Penari Rampak Buto Gedruk Desa Jetis Kecamatan Loano Kabupaten Purworejo Dalam Menjaga Konsistensi Gerak Tari Handarti, Oktavia Silvi Grandis; Eny Kusumastuti
Ranah Research : Journal of Multidisciplinary Research and Development Vol. 7 No. 6 (2025): Ranah Research : Journal Of Multidisciplinary Research and Development
Publisher : Dinasti Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38035/rrj.v7i6.1719

Abstract

Rampak Buto Gedruk dance stands out as a prominent traditional art form in Jetis Village, Loano District, Purworejo, characterized by its powerful, energetic movements that demand exceptional physical stamina. Maintaining consistency in movement among dancers is paramount for preserving the aesthetic appeal and visual impact of each performance, which includes ensuring rhythmic uniformity, technical precision, and stable formations. However, achieving this consistency presents several challenges, notably physical fatigue and disruptions in concentration. This study aimed to thoroughly describe the specific strategies employed by Rampak Buto Gedruk dancers, particularly within the Langen Turonggo Sari Arts Community, to uphold dance movement consistency and effectively address the difficulties they encounter. Utilizing a descriptive qualitative research method, data were meticulously gathered through direct observation, comprehensive interviews with the community head, trainers, and dancers, alongside careful documentation conducted within Jetis Village. The findings reveal that the primary strategies adopted encompass routine and structured practice sessions designed to strengthen muscle memory; a detailed evaluation of movements through video recordings and personalized feedback from trainers as well as fellow dancers; a strong emphasis on maintaining optimal physical and mental well-being; and cultivating the ability to adapt seamlessly to diverse stage conditions and the inherent pressures of live performance. Collectively, these strategic approaches empower the dancers to navigate both technical and non-technical obstacles, thereby ensuring the continuous preservation and the highest quality presentation of Rampak Buto Gedruk danceas an invaluable cultural heritage of Jetis Village.
Ekplorasi Gerak dan Ekspresi Tari Bedhaya Kalang di Sanggar Nyi Pandansari Kabupaten Kendal Septina Dwi Widyaningrum; Eny Kusumastuti
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 2 (2026): Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i2.9735

Abstract

This study aims to dissect in more depth the process of movement exploration and the embodiment of expression in the Bedhaya Kalang dance, an innovative dance work at the Nyi Pandansari Studio, Kendal Regency. This dance is an artistic representation of the Mendhak Kalang Obong ritual of the Kalang tribe. This study uses a qualitative method with an ethnographic approach. Data were collected through participatory observation, in-depth interviews with the choreographer, and performance documentation. The results show that the movement exploration in the Bedhaya Kalang dance is the result of a hybridization between the basic movements of Surakarta-style classical female dance with elements of masculinity derived from pencak silat movements and stylized buffalo movements. The exploration process is carried out through intensive body conditioning stages and repetitive exercises to achieve large, strong, and fast yet graceful movement qualities. Expressively, this dance successfully displays the duality of character, namely the gentleness of a woman and the steadfastness of the Kalang tribe. The whip property becomes the main instrument in exploring the dexterity of the dancers' movements and expressions. This study concludes that the exploration of movement in Bedhaya Kalang is not merely an aesthetic innovation, but rather an attempt to articulate the cultural identity of the Kalang tribe which is manifested through the dancer's bodily expression.
Manajemen Sanggar Seni Shaka Budaya Kabupaten Wonogiri Alfonza Araneki Valentine Hanadayinta; Eny Kusumastuti
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 5 No. 2 (2026): Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v5i2.9796

Abstract

This study aims to describe the management of Sanggar Seni Shaka Budaya in Wonogiri Regency, which includes the aspects of planning, organizing, implementation, and supervision. The research used a qualitative approach with a descriptive method through observation, interviews, and documentation techniques. The subjects of the study consisted of the founder of the studio, administrators, instructors, and members of the art studio. The results showed that Sanggar Seni Shaka Budaya, founded by Siti Fatonah or commonly called Mrs. Ifat in 2016, has implemented management functions systematically. The studio originated from the Simbol Jempol Jentik Community in 2015, which later developed into a center for cultural arts preservation in Pracimantoro District, Wonogiri Regency. In the planning aspect, the studio has short-term and long-term work programs such as routine training, art performances, competitions, and dance competency tests. In the organizing aspect, the studio has an organizational structure and a division of duties for instructors based on the students’ class levels. In the implementation aspect, activities are carried out through classical and creative dance training, art performances, and social media publications to attract and maintain members. The studio is also active in participating in various art events at the provincial level and has more than one hundred members. In the supervision aspect, evaluations are conducted directly on participants’ skill development through training and competency tests.
Co-Authors Alfonza Araneki Valentine Hanadayinta Grace Stella Amoreta Lomi Handarti, Oktavia Silvi Grandis Lukluil Maknun Al-izza Septina Dwi Widyaningrum