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All Journal Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Abdi Seni Lakon Jurnal Pengkajian & Penciptaan Wayang
Wijayanto, R. Danang Cahyo
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Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Karakter Tokoh Gatutkaca Dan Dadung Awuk Dalam Wayang Sebagai Pijakan Penciptaan Tari Gatutkaca Dadung Awuk Gaya Mangkunegaran Aminudin; Kuncoro, Bimo; Wijayanto, R. Danang Cahyo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Gatutkaca Dadung Awuk Dance at Pura Mangkunegaran is a dance work created during the era of Mangkunegaran IV with its creator NN. In its development, this dance was reconstructed by (the late) Rono Suripto in the 1990s as an appreciation of special dance in Mangkunegaran and often used in welcoming guests. The main objective of this study is to examine the character of Gatutkaca and Dadung Awuk in wayang as a basis for the creation of the Gatutkaca Dadung Awuk Dance Mangkunegaran Style. The method used to analyse this artwork is the Hawkins method of creating artwork; namely: exploration, improvisation, and formation or composition. The Gathutkaca figure became an idol because of the personality inherent in him. Gatutkaca is the son of Werkudara (father) and Arimbi (mother). Gatutkaca is a knight and is the king of the Pringgandani kingdom who has a gagah anteb (dashing) character. One lakon of wayang performances entitled Parta Krama tells about the marriage of Arjuna (his uncle). Gatutkaca is asked to look for a dowry and he met Dadung Awuk. Dadung Awuk is a giant with the characteristics of rongeh, glece, brayak, and cakrak. In this meeting, a war occurred because the dowry for Arjuna’s marriage was guarded by Dadung Awuk, namely Kerbau Pancal Panggung (White lower legs). A creative idea emerged because of the meeting in Pura Mangkunegaran, that is a work of the Gatutkaca Dadung Awuk Dance.
Karakter Tokoh Gatutkaca Dan Dadung Awuk Dalam Wayang Sebagai Pijakan Penciptaan Tari Gatutkaca Dadung Awuk Gaya Mangkunegaran Aminudin; Kuncoro, Bimo; Wijayanto, R. Danang Cahyo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol. 21 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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

Abstract

Gatutkaca Dadung Awuk Dance at Pura Mangkunegaran is a dance work created during the era of Mangkunegaran IV with its creator NN. In its development, this dance was reconstructed by (the late) Rono Suripto in the 1990s as an appreciation of special dance in Mangkunegaran and often used in welcoming guests. The main objective of this study is to examine the character of Gatutkaca and Dadung Awuk in wayang as a basis for the creation of the Gatutkaca Dadung Awuk Dance Mangkunegaran Style. The method used to analyse this artwork is the Hawkins method of creating artwork; namely: exploration, improvisation, and formation or composition. The Gathutkaca figure became an idol because of the personality inherent in him. Gatutkaca is the son of Werkudara (father) and Arimbi (mother). Gatutkaca is a knight and is the king of the Pringgandani kingdom who has a gagah anteb (dashing) character. One lakon of wayang performances entitled Parta Krama tells about the marriage of Arjuna (his uncle). Gatutkaca is asked to look for a dowry and he met Dadung Awuk. Dadung Awuk is a giant with the characteristics of rongeh, glece, brayak, and cakrak. In this meeting, a war occurred because the dowry for Arjuna’s marriage was guarded by Dadung Awuk, namely Kerbau Pancal Panggung (White lower legs). A creative idea emerged because of the meeting in Pura Mangkunegaran, that is a work of the Gatutkaca Dadung Awuk Dance.
Penciptaan Karya Tari Birama Morse Tubuh Ku sebagai Pilot Project Mencipta Tari Bersama Anak-Anak Tuna Rungu Jonet Sri Kuncoro; Supendi, Eko; Wijayanto, R. Danang Cahyo; Suroto, Suroto
Abdi Seni Vol. 16 No. 2 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v16i2.6501

Abstract

The creation of the Morse Code Body dance, as a pilot project to create dance with deaf children, is a community service activity in partnership with the Karanganyar State Special Needs School (SLB Negeri Karanganyar). This work focuses on children with hearing impairments (deaf) in the form of developing movements and beats of the feet, hands, and body. The movements are elaborated with a Morse Code reading system that uses dots (.) and dashes (-) to send and receive messages. This training system uses a demonstration learning method by providing examples directly in front of children supported by a four-step training system. This form of dance work can inspire SLB teachers to create dances and develop the potential and self-confidence of children with hearing impairments in the principle of equality as learning applied to other "normal" children. This program is expected to provide solutions to problems in Karanganyar State Special Needs School and pragmatically to class teachers and children so that they can experience the process of creating dance works and provide performance experiences outside of school. Keywords: creation, dance, morse, stomp, demonstration, training, experience.
Synesthesia of IbuIbu Belu: Bodies of Border as Contemporary Dance in Choreomusicology Perspective Dewi, Maharani Luthvinda; Wijayanto, R. Danang Cahyo; Putro, Renaldi Lestianto Utomo
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 10, No 2 (2026): April 2026
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v10i2.25920

Abstract

Penelitian ini difokuskan pada analisis bentuk sinestetik sebagai hasil perseptual dalam karya tari kontemporer Ibulbu Belu: Bodies of Border (IBUBOB) yang dipentaskan di Teater Besar ISI Surakarta tahun 2022. Urgensi studi ini didasarkan pada fakta bahwa kajian sebelumnya cenderung menganalisis dimensi tari, musik, dan ruang secara terpisah, serta belum memposisikan gejala sinestetik sebagai fokus kajian utama. Penelitian ini mengajukan argumen bahwa bentuk sinestetik adalah sebuah konstruksi perseptual yang dikonstruksi secara kausal oleh strategi koreomusikal dan teknologi pemanggungan. Metode kualitatif deskriptif dengan pendekatan analisis konten dua-tahap (formalis dan resepsi) diterapkan, menggunakan data rekaman audio-visual, observasi, wawancara, dan studi pustaka berupa narasi audiens. Penelitian menemukan hasil dua penyebab utama. Pertama, strategi koreomusikal yang mengintegrasikan body percussion dan instrumen Tihar dalam pola ritmis paralel dan unison. Kedua, desain pemanggungan yang memanfaatkan lantai kayu parkit berlapis vynil sebagai instrumen perkusif pasif dan sonifikasi melalui mic condensor yang mengubah bunyi kinetik subtil (hentakan kaki) menjadi lanskap suara imersif. Temuan membuktikan bahwa kedua elemen teknis ini secara sistematis mengarahkan persepsi audiens, yang termanifestasi dalam narasi sinestetik seperti detak jantung kolektif. Disimpulkan bahwa bentuk sinestetik adalah akibat perseptual yang dapat dirancang secara sadar oleh seniman melalui keputusan teknis yang terintegrasi.  Kata kunci: Bentuk, Sinestetik, Tari Kontemporer, IBUBOB, Sonifikasi.
Co-Authors AMINUDIN Aminudin Aminudin Bimo Kuncoro Dewi, Maharani Luthvinda Jonet Sri Kuncoro Renaldi Lestianto Utomo Putro Supendi, Eko Suroto Suroto