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All Journal Acintya Gelar : Jurnal Seni Budaya SOSIOEDUKASI : JURNAL ILMIAH ILMU PENDIDIKAN DAN SOSIAL Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain
Lokanantasari, Ryndhu Puspita
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HUBUNGAN EKSPRESI PENUANGAN TARI BEDHAYA DENGAN KOREOGRAFI BEDHAYA SARPA RODRA SUSUNAN SARYUNI PADMININGSIH Ryndhu Puspita Lokanantasari; S., Slamet
Gelar : Jurnal Seni Budaya Vol 15, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (905.776 KB) | DOI: 10.33153/glr.v15i1.2072

Abstract

Tari Bedhaya Sarpa Rodra merupakan karya tari model bedhaya yang diciptakan di luar istana. Tari ini menggambarkan keserakahan manusia yang diwujudkan pada tokoh Sarpakenaka. Sajian koreografinya menghadirkan keunikan terutama pada gerak dan musik tarinya. Untuk itu, perlu dianalisis bentuk tari bedhayadan proses pembentukan koreografinya dengan pisau analisis konsep bentuk Suzanne K. Langer, konsep Hastasawanda, dan teori Effortshape, serta aspek koreografi kelompok Y. Sumandiyo Hadi.Kata kunci: bedhaya, Bedhaya Sarpa Rodra.The dance Bedhaya Sarpa Rodra is a dance work of bedhaya model created outside the palace. The dance shows human greedmanifested in the figureSarpakenaka. The choreography presents uniqueness especiallyon the movement and the dance music. For the reason, the form of dance Bedhaya and the composing process of choreography need to be analyzed by the concept of form by Suzanne K. Langer, concept of Hastasawanda, and Effortshape theory, as well as aspect of group choreography by Y. Sumandiyo Hadi.Keywords: Bedhaya, Bedhaya Sarpa Rodra.
Cundaka: Analisis Gending Budhalan Wayang Kulit Purwa pada Sajian Pertunjukan Pakeliran Ki Purbo Asmoro Pitutur Tustho Gumawang; Ryndhu Puspita Lokanantasari
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 4 (2025): 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.v2i4.842

Abstract

The Javanese wayang kulit purwa (classical shadow puppetry) is a complex performance art form in which karawitan (gamelan music) plays a primary and crucial role, serving as accompaniment, building atmosphere, and accentuating the puppet's movements. A vital musical element within the pakeliran (puppetry performance) repertoire is the gending budhalan, a musical piece used to accompany the scene of a military departure. Ki Purbo Asmoro, one of the most influential dalang (puppeteers) of the contemporary pakeliran garap (interpretive performance style) era, is renowned for his intelligent and innovative performance concepts and musical interpretations. This study aims to analyze Gending Cundaka, a piece frequently used for this departure scene, within the context of Ki Purbo Asmoro's performances. Employing an ethnomusicological and performance studies approach, this qualitative research examines three main aspects: (1) the musical structure and aesthetics of Gending Cundaka; (2) its dramaturgical function as a gending budhalan; and (3) the uniqueness of Ki Purbo Asmoro's interpretation, or garap, that distinguishes his performances. Data were collected through participatory observation of Ki Purbo Asmoro's audio-visual performance recordings, transcription of musical arrangements, and a literature review. The findings indicate that in Ki Purbo Asmoro's interpretation, Gending Cundaka functions not merely as musical illustration but as a potent narrative instrument. Its assertive melodic structure, combined with dynamic kendhangan (drumming patterns) and dramatic tempo manipulations (seseg-kendho), effectively builds the performance's atmosphere, affirms the character of the troops, and provides psychological depth to the scene. The selection and treatment of this gending reflect Ki Purbo Asmoro's artistic intelligence in blending tradition with innovation to achieve gregel (an aesthetic thrill) and evoke a profound sense of rasa (deep feeling) in the audience.  
LOCAL AESTHETICS AND COMMODIFICATION: EFFORTS TO SELF-ACTUALIZE AND EXISTENCE IN THE GEDRUK DANCE ART OF THE SALEHO GROUP Paimin; Lokanantasari, Ryndhu Puspita; Sendanatasa Kunthi Febiyani
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7554

Abstract

The development of folk arts has generated diverse modes of performance and increasing complexity. This article examines the dynamics of aesthetics and commodification in tari Gedruk, a folk dance performed by the Saleho group in Boyolali, Central Java. Employing an ethnographic approach, the study explores how this community-based art group integrates local aesthetic values—particularly the concept of gayeng, which emphasizes festivity, spontaneity, and emotional engagement—with commercial strategies as a means of self-actualization and sustaining cultural presence. Gayeng serves as a primary aesthetic parameter, replacing classical standards and reflecting the ways in which aesthetics are experienced and interpreted by local audiences. What kind of aesthetics emerge in such a context? And how do they function within the logic of popular performance? In this framework, tari Gedruk becomes not only a form of cultural expression but also a commodified creative product that aligns with contemporary entertainment demands while preserving its indigenous values. Using the Saleho group as a case study, this article argues that local aesthetics and commodification are not necessarily oppositional, but can instead coexist and inform each other within the evolving landscape of folk performance. Ultimately, commodification here is not solely about generating material profit, but also a strategic response to ensure the continuity and vitality of the art itself. This reflects how traditional arts survive outside palace walls and institutional cultural systems.
GANDRUNG DANCE IN BANYUWANGI IN 1767 - 1974 Ryndhu Puspita Lokanantasari; Nurmaria; Nandya Abror Nurmusabih
SOSIOEDUKASI Vol 14 No 4 (2025): SOSIOEDUKASI : JURNAL ILMIAH ILMU PENDIDIKAN DAN SOSIAL
Publisher : Fakultas Keguruan Dan Ilmu Pendidikan Universaitas PGRI Banyuwangi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36526/sosioedukasi.v14i4.6246

Abstract

Compulsive dance is an art that originated from Banyuwangi, an area located at the eastern tip of Java Island, which is inhabited by the Osing, Javanese, Madura and Balinese tribes. This article explains the history of compulsive dance by raising several main problems as follows; First, What is the background of the emergence of compulsive dance art in Banyuwangi?; Second, How is the development and function of the art of gandrung dance in Banyuwangi?. The research method in this article is the historical method. Based on the results of research, gandrung dance is an art that emerged in the colonial era, used as a means of indigenous communication to fight against the colonial government. Then after the independence era, gandrung dance has become a phenomenon and has its own attraction for the audience, because of the charm of its attractive and dynamic form of presentation. This charm and attraction has encouraged the local government and the people of Banyuwangi to support and develop the gandrung dance as a cultural characteristic of the Banyuwangi people. This has also shown that the art of gandrung dance in its development has changed from the colonial era to the independence era.
Co-Authors Nandya Abror Nurmusabih NURMARIA PAIMIN Pitutur Tustho Gumawang S., Slamet Sendanatasa Kunthi Febiyani