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Anjali, Sangghita
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Arts Humanities

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REFLEKSI PENCIPTAAN TARI NYI PANDANARAN PRAJURIT PEREMPUAN Anjali, Sangghita; Soemaryatmi, Soemaryatmi
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.v21i2.5985

Abstract

The Nyi Pandanaran Prajurit Perempuan dance is a choreography created by Sangghita Anjali in 2021. This dance will be performed at the ISI Surakarta Great Theater building on January 7, 2022. The Nyi Pandanaran Prajurit Perempuan dance has a theme of soldiering. This work is presented by a single female dancer. The title of this research is Reflection on the Creation of the Female Warrior Nyi Pandanaran Dance which will reveal two problems, namely how the creative process of the female warrior Nyi Pandanaran dance is and how the form of the dish is presented. To dissect the Creative Process problem, Mel Rodhes's theory of 4P (Four P’s Creativity) Thoughts is quoted by Utami Munandar, while the Form of Serving uses the theory of Forms according to Djelantik. This study uses an artistic practice-based research method consisting of Re-Visiting/visiting again, Re-Questioning/questioning, and Re-Interpreting/re- interpreting. The results of this study indicate that the Creative Process of compiling the Nyi Pandanaran Prajurit Perempuan dance was produced through the stages of preparation, incubation, illumination, and leveraging/evaluation. Nyi Pandanaran Dance Prajurit Perempuan is a dance that is presented in a singular form. The dance moves used are traditional movements with clothing designs inspired by the Semarang model warriors, and using gamelan musical instruments combined with modern musical instruments such as the saxophone and chimes. These elements are assembled into one in a presentation, in a plot consisting of three scenes that reveal an atmosphere of majesty, firmness, determination, persistence, and submission. The Nyi Pandanaran Prajurit Perempuan dance is a choreographic creativity that is packaged in totality.
REFLEKSI PENCIPTAAN TARI NYI PANDANARAN PRAJURIT PEREMPUAN Anjali, Sangghita; Soemaryatmi, Soemaryatmi
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.v21i2.5985

Abstract

The Nyi Pandanaran Prajurit Perempuan dance is a choreography created by Sangghita Anjali in 2021. This dance will be performed at the ISI Surakarta Great Theater building on January 7, 2022. The Nyi Pandanaran Prajurit Perempuan dance has a theme of soldiering. This work is presented by a single female dancer. The title of this research is Reflection on the Creation of the Female Warrior Nyi Pandanaran Dance which will reveal two problems, namely how the creative process of the female warrior Nyi Pandanaran dance is and how the form of the dish is presented. To dissect the Creative Process problem, Mel Rodhes's theory of 4P (Four P’s Creativity) Thoughts is quoted by Utami Munandar, while the Form of Serving uses the theory of Forms according to Djelantik. This study uses an artistic practice-based research method consisting of Re-Visiting/visiting again, Re-Questioning/questioning, and Re-Interpreting/re- interpreting. The results of this study indicate that the Creative Process of compiling the Nyi Pandanaran Prajurit Perempuan dance was produced through the stages of preparation, incubation, illumination, and leveraging/evaluation. Nyi Pandanaran Dance Prajurit Perempuan is a dance that is presented in a singular form. The dance moves used are traditional movements with clothing designs inspired by the Semarang model warriors, and using gamelan musical instruments combined with modern musical instruments such as the saxophone and chimes. These elements are assembled into one in a presentation, in a plot consisting of three scenes that reveal an atmosphere of majesty, firmness, determination, persistence, and submission. The Nyi Pandanaran Prajurit Perempuan dance is a choreographic creativity that is packaged in totality.
The Form and Creative Process of Nyi Pandanaran as a Female Warrior Dance Anjali, Sangghita; Soemaryatmi; Pramutomo, R. M.
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 2 (2025): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i2.66345

Abstract

The dance work Nyi Pandanaran Prajurit Perempuan is a traditional solo performance inspired by the historical figure Nyi Pandanaran, who accompanied her husband in developing the Kadipaten Semarang during the 16th century. This study aims to explore the form and creative process behind the choreography, highlighting the representation of women's resilience, participation, and leadership. Using a practice-based research approach, the choreographer developed movements derived from traditional Javanese dance styles of Surakarta, Yogyakarta, and Semarang, integrated with properties such as fans, bows, and daggers to symbolize strength and femininity. The performance is divided into three main scenes: the opening reflects firmness and determination; the middle portrays grace, prayer, and spiritual strength; and the final scene conveys courage and martial prowess. The dance is supported by musical arrangements that combine Javanese gamelan with modern instruments like saxophone and trumpet, as well as realistic makeup and military-inspired costumes that emphasize character expression. Lighting design further enhances the performance by dividing stage space and symbolizing emotional tones through the use of red and gold hues. The work ultimately presents a nuanced narrative of a woman warrior’s struggle and leadership in safeguarding her land, illustrating themes of emancipation and national devotion. Through this creation, the choreographer underscores the potential of women to embody both strength and grace within cultural and historical contexts.
Co-Authors Pramutomo, R. M. Soemaryatmi Soemaryatmi Soemaryatmi, Soemaryatmi